LiBRAPV  '^ 


UNIVERSITY  Oi 
CAUFO   NA 
SAN  DIEGO 


J 


^^  /^7 


Euphues  Golden 

Legacic, 

Found  after  his  death  in  his  Cell  at 
Silexedha. 

Bequeathed  coPhilavtvs  SonneSj 

nurjedtif  "^ith  their  Father  in 
ENGLAND 


lotprintcd  at  Londonfor  I,hnSmethw',ckf,ind  aretobefoMathk 
fltof  ta  Saint  X)«/»/?4«jChittch-y3rd  in  FJccimectc  j> 


I'acsimilk  (jf  Title-Page,  Euphues  Golden   Legacie, 
]{lack-Letter  Edition 

Reproduced  from  the  copy  in  the  IJoslon  Public  Library 


Entered  at  Stationers'  Hali. 


Copyright,  1880 
By  henry  N.  HUDSON 


Copyright,  1906 
By  GINN  and  COMPANY 


Copyright,  igo8 
By  KATE  W.  HUDSON 


ALL    RIGHTS    RESERVED 


tgbe  fltftenacum  greg< 

CINN  AND  COMl'ANY-  }'1{0- 
FKIHTORS  •  UOSTON  •  U.S.A. 


PREFACE 

Exclusive  of  changes  in  spelling,  punctuation,  and  stage 
directions,  only  seven  variations  from  the  text  of  the  First 
Folio  occur  in  the  text  of  this  edition  of  As  You  Like  It. 
These  variations  are  such  corrections  as  were  made  either  in 
the  later  seventeenth  century  Folios  or  in  Rowe's  octavo 
editions  of  1709  and  17 14.  These  corrections  and  varia- 
tions, with  the  more  important  suggested  emendations  of 
later  editors,  are  indicated  in  the  textual  notes.  The  only 
omissions  are  such  passages  as  are  out  of  place  in  a  school 
edition. 

The  spelling  and  the  punctuation  of  the  text  are  modern, 
except  in  the  case  of  verb  terminations  in  -ed,  which,  when 
the  e  is  silent,  are  printed  with  the  apostrophe  in  its  place. 
This  is  the  general  usage  in  the  First  Folio.  Modern 
spelling  has  to  a  certain  extent  been  followed  in  the  text 
variants  ;  but  the  original  spelling  has  been  retained  wherever 
its  peculiarities  have  been  the  basis  for  important  textual 
criticism  and  emendation. 

With  regard  to  the  general  plan  of  this  revision  of 
Hudson's  Shakespeare,  Professor  W.  P.  Trent,  of  Colum- 
bia University,  has  offered  valuable  suggestions  and  given 
important  advice. 

September  i,  1906 


CONTENTS 


INTRODUCTION 

Page 

I.  Sources vii 

The  Main  Story vii 

The  Tale  of  Gamel  yn vii 

Robin  Hood  Ballads  and  Plays         .    .     .  viii 

Lodge's  Rosalynde ix 

"All  the  World's  a  Stage" xiii 

"  Seven  Ages  " xiv 

The  Title xv 

II.  Date  of  Composition xvii 

External  Evidence xvii 

Internal  Evidence xviii 

III.  Editions xx 

IV.  Dramatic  Structure xx 

V.  Diction  and  Versification xxi 

Prose xxi 

Blank  Verse xxii 

Rhyme xxii 

VI.  The  Characters xxiii 

Orlando xxiv 

The  Banished  Duke xxvi 

Touchstone xxvii 

Jaques xxix 

Rosalind  and  Celia xxx 

VII.  General  Characteristics xxxiii 

Chronological  Chart ...  xl 


VI  CONTENTS 

THE  TEXT 

Page 

Act  I 3 

Act  II 34 

Act  III 64 

Act  IV 104 

Act  V 124 

Index  of  Words  and  Phrases 149 


INTRODUCTION 


Note.  In  citations  from  Shakespeare's  plays  and  nondramatic 
poems  the  numbering  has  reference  to  the  Globe  edition,  except  in 
the  case  of  this  play,  where  the  reference  is  to  this  edition. 


I.    SOURCES 

The  story-theme  of  a  quarrel  between  brothers  leading  to 
strange  and  unexpected  results  is  common  to  all  literature. 
The  story  of  Cain  and  Abel,  with  unending  variations,  is 
universal.  An  interesting  modification  of  this  theme  — 
when  a  jealous  elder  brother  keeps  a  younger  out  of  his 
inheritance,  and  the  younger  becomes  prosperous  in  the 
teeth  of  all  difficulties  and  obstacles  —  is  in  the  ancient 
Egyptian  Tale  of  Two  Brothers  ^  and  in  the  Genesis  narrative 
of  Joseph  and  his  brethren ;  it  is,  with  significant  changes, 
the  framework  of  the  parable  of  the  Prodigal  Son.  As  You 
Like  It  is  a  variant  and  a  development  of  this  world-old  and 
universal  story-theme,  with  elements  and  color  that  come 
from  the  soil  and  atmosphere  of  the  England  of  Robin  Hood 
ballads  and  Elizabethan  pastoral. 

The  Main  Story 

I.  The  Tale  of  Gamelyn.  The  earliest  form  of  the  As 
You  Like  It  story  in  English  literature  is  The  Tale  of 
Ga?nelyn,  a  vigorous  ballad-epic  of  nine  hundred  and  two 

1  For  similar  stories  in  different  literatures,  see  A.  Lang's  ATyth^ 
Ritual,  and  Religion. 

vii 


viii  THE   NEW  HUDSON  SHAKESPEARE 

lines  in  northern  dialect.  This  poem,  which  philology  and 
story-development  connect  with  the  Anglo-Danish  cycle  of 
legends  to  which  Havelok  the  Dane  and  Hamlet  belong, 
seems  to  have  been  in  Chaucer's  possession,  and  it  was 
probably  his  plan  to  work  it  over  for  use  in  The  Canterbury 
Tales.  After  his  death  it  was  found  inserted  among  manu- 
scripts of  The  Canterbury  Tales  immediately  after  the  frag- 
ment of  The  Coke's  {Cook's)  Tale.  *'Alate  hand,  in  the 
Harl.  MS.  7334,  has  scribbled  above  it — 'The  Coke's  Tale 
of  Gamelyn';  whence  the  blunder  arose  of  connecting  it 
with  the  Cook."  —  Skeat. 

In  The  Tale  of  Gatnelyn  are  many  of  the  incidents  of  As 
You  Like  It.  The  story  turns  upon  the  neglect  and  abuse 
of  a  youngest  brother  by  an  eldest ;  and  a  violent  quarrel,  a 
wrestling  match,  the  rescue  of  the  youngest  brother  by  an 
old  retainer  called  Adam,  and  an  escape  to  forest  depths  are 
inwoven,  but  there  is  no  thread  of  love  in  the  weaving. 

2.  Robin  Hood  Ballads  and  Plays.  Story,  treatment,  and 
nomenclature  connect  The  Tale  of  Gamelyn  also  with  the 
Robin  Hood  ballad  cycle,  Gamelyn  being  in  all  probability 
identical  with  'Young  Gamwell'  of  the  ballad  Robin  Hood 
Newly  Revived : 

"  But  thou  art  a  cousin  of  Robin  Hood's  then  ? 

The  sooner  we  should  have  done  "  : 
"As  I  hope  to  be  sav'd,"  the  stranger  then  said, 

"  I  am  his  own  sister's  son." 

Compare  also  "  Gamble  Gold  of  the  gay  green  woods  "  in 
the  ballad  2Vie  Bold  Pedlar  and  Robin  Hood.  Apart  from 
The  Tale  of  Gamelyn  as  a  link  between  Robin  Hood  lore 
and  As  You  Like  It,  we  find  Shakespeare  himself  giving  a 
significant  source-hint  in  I,  i,  105-107  :  "They  say  he  is 


INTRODUCTION  ix 

already  in  the  forest  of  Arden,  and  a  many  merry  men  with 
him ;  and  there  they  live  hke  the  old  Robin  Hood  of  Eng- 
land." There  is  evidence  that  from  the  beginning  of  the 
fifteenth  century  Robin  Hood,  Maid  Marian,  and  their  com- 
panions were  the  subject  of  popular  dramatic  performances 
and  rustic  pageants,^  and  thus  pastoralism  and  the  wild  wood 
atmosphere  grew  up  with  the  English  drama,  and  towards 
the  close  of  the  sixteenth  century  found  expression  in  such 
plays  as  The  Downfall  of  Robert,  Earl  of  Huntington,  by 
Anthony  Munday,  The  Death  of  Robert,  Earl  of  Huntingto7i, 
by  Munday  and  Henry  Chettle,  and  George-a- Greene,  the 
Pinner  of  Wakefield,  often  attributed  to  Robert  Greene. 

3.  Lodge's  Rosalynde.  The  Tale  of  Gamely n  was  not 
printed  until  the  eighteenth  century,  but  there  is  no  doubt 
that  manuscript  copies  were  in  circulation  in  the  sixteenth ; 
and  upon  the  story  as  found  in  one  of  these  manuscript  ver- 
sions, Thomas  Lodge  founded  his  prose  romance,  Rosalynde. 
Euphues  Golden  Legacie :  foimd  after  his  death  in  his  Cell  at 
Silexedra.  Bequeathed  to  Philautus  sonnes  noursed  up  with 
their  father  in  England.  Fetcht  frofn  the  Canaries.  By  T. 
L.  Gent.  Lo?idon,  Imprinted  by  Thomas  0?'win  for  T  G.  and 
fohn  Busbie.  iSQO.  The  popularity  of  Lodge's  Rosalynde  is 
shown  by  its  having  been  reprinted  again  and  again  between 
1590  and  1640,  some  of  the  later  editions  omitting  'Rosa- 
lynde '  from  the  title. ^    This  success  was  due  to  the  skill 

1  See  "  Robin  Hood  Plays "  in  Manly's  Speciviens  of  the  Pre- 
Shakespearean  Drama,  I,  279-288,  Ginn  &  Company,  1900.  See 
also  Gayley's  "An  Historical  View  of  English  Comedy,"  XL-XLI, 
Representative  English  Comedies,  The  Macmillan  Company,  1903. 

2  See  the  facsimile  of  the  title-page  of  the  black-letter  copy  in  the 
Boston  Public  Library  given  as  the  frontispiece  of  this  edition. 


X  THE   NEW  HUDSON   SHAKESPEARE 

with  which  Lodge  in  his  redaction  of  the  sturdy  old  story 
combined  the  euphuistic  diction  and  manner  that  Lyly  had 
made  fashionable  from  1580  to  1590  and  the  courtly  pas- 
toralism  which  the  genius  of  Spenser  and  Sidney  made  so 
strong  a  literary  influence  during  the  next  decade.  After 
the  posthumous  publication  of  the  Arcadia  in  1590,  pastor- 
alism  became  the  very  breath  of  the  English  court  and  lit- 
erary life  ;  it  influenced  every  one.  "  The  mere  fact  that  a 
man  was  writing  verse  was  sufificient  to  metamorphose  him 
for  the  time  into  a  shepherd,  and  the  persons  about  him 
into  shepherds  and  shepherdesses.  The  very  name  'shep- 
herd '  became  a  synonym  for  '  poet.'  "  —  Masson. 

While  it  is  a  disputed  question,  and  likely  to  remain  so, 
whether  Shakespeare  ever  read  The  Tale  of  Gamelyn,'^  it  is 
beyond  a  doubt  that  Rosalyjide  is  the  immediate  source  of 
the  plot  of  As  You  Like  It.  In  the  play  linger  a  few  char- 
acteristic euphuisms  in  the  form  of  classical  allusions,  *  pul- 
pit employment '  of  fictitious  natural  history  as  in  II,  i,  12-14, 
alliteration  and  antithesis  in  the  sentence  structure  ;  and  we 
have  certain  artificial  pastoral  conventions  of  the  Renaissance 
in  the  wooing  of  Silvius  and  Phebe,  the  disguise  of  Rosalind, 
the  hunting  scene,  etc.,  though  these  are  blended  with  the 
bracing  air  of  English  country  life  under  the  greenwood  tree. 
But  it  is  in  the  incidents  of  the  narrative  that  Shakespeare 
appropriated  so  much  from  Rosalynde,  and  to  appreciate 
fully  his  use  of  this  material,  it  is  necessary  to  compare  the 
romance  and  the  drama  scene  by  scene. '^    Only  in  this  way 

1  See  articles  by  Delius  {Shakespeare  /a/irbtich,  VI,  226),  Zupitza 
(Shakespeare  Jahrbiich,  XXI,  69),  and  Stone  (New  Shakspere  Society 
Transactions,  1SS0-1886,  p.  277). 

2  The  complete  text  of  Rosalynde  is  given  in  Ilazlitt's  Shake- 
speare's  Library,  Vol.  II,  1875. 


INTRODUCTION  xi 

can  be  understood  the  judgment  and  art  with  which  Shake- 
speare used  the  borrowed  matter.  In  no  one  of  his  comedies 
indeed  has  he  borrowed  more  freely ;  nor  is  there  any 
wherein  he  has  enriched  his  borrowings  more  liberally  from 
the  glory  of  his  own  genius.  To  appreciate  his  wisdom  as 
shown  in  what  he  left  unused,  one  must  read  the  whole  of 
Lodge's  romance.  In  that  work  we  find  no  traces  of  Jaques, 
Touchstone,  Audrey,  William,  Dennis,  Le  Beau,  Amiens,  Sir 
Oliver  Martext ;  nothing,  indeed,  that  could  yield  the  slight- 
est hint  towards  those  characters.  It  scarce  need  be  said 
that  these  superaddings  are  enough  of  themselves  to  trans- 
form the  play  into  a  new  creation,  pouring  through  all  its 
veins  a  free  and  lively  circulation  of  the  most  original  wit 
and  humor  and  poetry.  And  by  a  judicious  indefiniteness 
as  to  persons  and  places,  Shakespeare  has  greatly  idealized 
the  work,  throwing  it  at  a  romantic  distance  and  weaving 
about  it  all  the  witchery  of  poetical  perspective,  while  the 
whole  is  in  such  harmony  with  the  laws  of  the  imagination 
that  the  breaches  of  geographical  order  are  never  noticed, 
save  by  such  as  cannot  understand  poetry  without  a  map. 

No  one  at  all  competent  to  judge  in  the  matter  will  sup- 
pose that  Shakespeare  could  have  been  really  indebted  to 
Lodge  for  any  of  the  characters  in  As  You  Like  It.  He 
merely  borrowed  certain  names  and  incidents  for  the  bodying 
forth  of  conceptions  purely  his  own.  The  resemblance  is 
all  in  the  drapery  and  circumstances  of  the  representation, 
not  in  the  individuals.  For  instance,  we  can  easily  imagine 
Rosalind  in  a  hundred  scenes  not  here  represented,  for 
she  is  a  substantive  personal  being,  such  as  we  may  detach 
and  consider  apart  from  the  particular  order  wherein  she 
stands ;  but  we  can  discover  in  her  no  likeness  to  Lodge's 


xii  THE   NEW  HUDSON   SHAKESPEARE 

heroine,  save  that  of  name  and  situation  :  take  away  the 
similarity  here,  and  there  is  nothing  to  indicate  any  sort 
of  relationship  between  the  heroines  of  the  play  and  the 
romance.  And  it  is  significant  that,  though  Shakespeare 
here  borrows  so  freely,  there  is  no  sign  of  any  borrowing  in 
the  work  itself :  we  can  detect  no  foreign  influences,  no 
secondhand  touches,  nothing  to  suggest  that  any  part  of  the 
thing  had  ever  been  thought  of  before  —  what  he  took  being 
so  thoroughly  assimilated  with  what  he  gave  that  the  whole 
seems  to  have  come  fresh  from  nature  and  his  own  mind, 

Shakespeare  generally  preferred  to  make  up  his  plots  and 
stories  out  of  such  materials  as  were  most  familiar  to  his 
audience.  Of  this  we  have  many  examples,  but  the  fact 
is  too  well  known  to  need  dwelling  upon.  Though  surpass- 
ingly rich  in  fertility  and  force  of  invention,  he  was  not- 
withstanding singularly  economical  and  sparing  in  the  use 
of  it ;  which  aptly  shows  how  free  he  was  from  everything 
like  a  sensational  spirit  or  habit  of  mind.  Nature  was  every- 
thing to  him,  novelty  nothing,  or  next  to  nothing.  The  true, 
not  the  new,  was  always  the  soul  of  his  purpose.  Than  this 
notliing  could  better  approve  the  moral  healthiness  of  his 
genius ;  hence,  in  great  part,  his  noble  superiority  to  the 
intellectual  and  literary  fashions  of  his  time.  He  understood 
these  perfectly,  but  he  deliberately  rejected  them,  or  rather 
struck  quite  above  or  beyond  them.  We  rarely  meet  with 
anything  that  savors  of  modishness  in  his  workmanship. 
Prolxibly  the  best  judgment  ever  pronounced  upon  him  is 
Ben  Jonson's,  "  He  was  not  of  an  age,  but  for  all  time." 
For  even  so  it  is  with  the  permanences  of  our  intellectual  and 
imaginative  being  that  he  deals,  and  not  with  any  transiencies 
of  popular  or  fashionable  excitement  or  pursuit.    And  as  he 


INTRODUCTION  xiii 

cared  little  for  the  new,  so  he  was  all  the  stronger  in  that 
which  does  not  grow  old  and  which  lives  on  from  age  to  age 
in  the  perennial,  unwithering  freshness  of  truth  and  nature. 
To  be  carried  hither  and  thither  by  the  shifting  mental 
epidemics  of  the  day  is  but  a  tacit  confession  of  weakness 
or  disease  ;  it  only  proves  that  one  has  not  strength  of  mind 
enough  to  *'  feel  the  soul  of  nature,"  or  to  live  at  peace 
with  the  solidities  of  reason.  And  because  the  attractions 
of  mere  novelty  had  no  force  with  Shakespeare,  because  his 
mind  dwelt  far  above  the  currents  of  intellectual  fashion 
and  convention,  his  dramas  stand  "  exempt  from  the  wrongs 
of  time  " ;  and  the  study  of  them  is  a  wholesome  disciphne 
in  those  forms  and  sources  of  interest  which  underlie  and 
outlast  all  the  flitting  specialties  of  mode  and  custom  — 

Truths  that  wake, 

To  perish  never; 
Which  neither  hstlessness,  nor  mad  endeavour, 

Nor  Man  nor  Boy, 
Nor  all  that  is  at  enmity  with  joy, 
Can  utterly  abolish  or  destroy  ! 

"All  the  World's  a  Stage" 

The  thought  in  the  metaphor  with  which  the  famous 
speech  of  Jaques,  II,  vii,  138,  begins,  seems  to  be  as  old 
and  as  universal  as  the  art  of  acting.  It  is  found  in  the 
Greek  anthology  and  in  Latin  literature.  Lucian  works  out 
the  idea  elaborately ;  to  Petronius  is  attributed  Non  duco 
contentionis  funem,  diim  constet  inter  nos,  qiiod  fere  totiis 
miindiis  exerceat  histrioniam,^  which,   in  the  form,   Totiis 

^  "Petronius  had  not  been  translated  in  Shakespeare's  time."  — 
Douce. 


xiv  THE   NEW  HUDSON   SHAKESPEARE 

mundus  agit  histrionem,  is  said  to  have  been  the  motto  on 
the  Globe  Theatre,  built  in  1599  by  Richard  Burbage  and 
his  brother  Cuthbert,  where,  as  Shakespeare  himself  was  one 
of  the  shareholders,  it  is  extremely  probable  that  As  You 
Like  It  was  one  of  the  first  plays  given.  Elizabethan  lit- 
erature abounds  in  expressions  of  the  same  general  idea  of 
this  world  being  but  a  stage  "and  all  the  men  and  women 
merely  players."  Some  of  the  best  known,  for  example  that 
of  Thomas  Heywood  in  The  Author  to  His  Booke,  or  Ben 
Jonson's  in  The  New  Inn  (I,  i,  "When  I  consider  all  the 
world  's  a  play  "),  were  written  after  As  You  Like  It.  But  in 
Sidney's  Arcadia  (written  probably  15 78-1 580,  first  printed 
1590)  we  have,  "She  found  the  world  but  a  wearisome  stage 
to  her,  where  she  played  a  part  against  her  will."  So,  too,  in 
Richard  Edwardes's  '  tragical  comedy,'  T>a?non  and  Tithias 
(licensed  1566,  and  first  printed  apparently  in  157 1)  : 

Pythagoras  said,  that  this  world  was  Hke  a  stage, 
Where  many  play  their  parts :  the  lookers  on,  the  sage 
Philosophers  are,  saith  he,  whose  part  is  to  learn 
The  manners  of  all  nations. 

Shakespeare  himself  had  already  made  use  of  the  figure 
in  The  Merchant  of  Venice,  I,  i,  77-79  : 

I  hold  the  world  but  as  the  world,  Gratiano, 
A  stage  where  every  man  must  play  a  part, 
And  mine  a  sad  one. 

"Si: YEN  Agks" 

Such  a  division  of  human  life  into  certain  stages  or  epochs 
as  Jaques  makes,  II,  vii,  142-165,  is  found  in  Greek,  Latin, 
and  later  Hebrew  literature.  In  some  Greek  verses  attrib- 
uted to  Solon,  the  life  of  man  is  divided  into  ten  ages  of 


INTRODUCTION  xv 

seven  years  each.  Proclus  is  said  to  have  made  the  distri- 
bution into  seven  ages,  "  over  each  of  which  one  of  the 
seven  planets  was  supposed  to  rule.  .  .  .  Hippocrates  like- 
wise divided  the  life  of  man  into  seven  ages,  but  differs  from 
Proclus  in  the  number  of  years  allotted  to  each  period."  — 
Malone.  Fourteen  periods  are  given  in  the  Alishna,  the 
body  of  the  *  Oral  Law '  of  the  Jews  redacted  in  the  third 
century ;  and  in  the  Midrash,  the  Hebrew  exposition  of  the 
Old  Testament  made  between  the  sixth  and  twelfth  cen- 
turies, the  division  is  into  seven  periods.  A  poem  upon  the 
ten  stages  of  life  was  written  about  the  year  1150  by  the 
great  Hebrew  scholar  and  exegete  Abraham  ben  Meir  ibn 
Ezra,  the  Rabbi  ben  Ezra  of  Browning's  poem.  In  Arnold'' s 
C/ironkle,  a  famous  fifteenth  century  miscellany,  is  a  chap- 
ter entitled  "The  vii  Ages  of  Man  living  in  the  World." 
Henley  thinks  that  Shakespeare  took  his  hint  for  the  famous 
passage  from  some  of  the  pictorial  representations  of  the 
theme  which  were  popular  in  Europe  in  the  fifteenth  and 
sixteenth  centuries.  But  what  Shakespeare  found  neither  in 
old  woodcuts  nor  in  mediaeval  lore  are  the  terse  expression, 
supreme  artistry  in  description,  and  peculiar  Jaques  cynicism 
shown  in  the  emphasis  put  upon  the  unlovely  aspects  of 
human  life  in  each  of  the  seven  ages. 

The  Title 

While, as  indicated  below  under  "General Characteristics," 
the  ground  idea  of  the  play  is  indicated  by  the  title  As 
You  Like  It^  there  is  strong  probability  that  the  title  itself 

1  Com7?ie  il  voiis  plaira  is  the  title  George  Sand  gave  to  her 
French  adaptation  of  the  play  in  which  Jaques  was  made  the  hero. 


xvi  THE   NEW  HUDSON   SHAKESPEARE 

was  suggested  by  this  passage  in  Lodge's  epistle  dedicatory 
"  To  the  Gentlemen  Readers  "  : 

Gentlemen,  look  not  here  to  find  anie  sprigs  of  Pallas  bay  tree, 
nor  to  heare  the  humour  of  any  amorous  Lawreate,  nor  the  pleasing 
vaine  of  anie  eloquent  Orator:  Nolo  altum  sapere,  they  be  matters 
above  my  capacitie ;  the  Coblers  checke  shall  never  light  on  my 
head,  N'e  sutor  ultra  crepidam,  I  will  go  no  further  than  the  latchet, 
and  then  all  is  well.  Heere  you  may  perhaps  finde  som  leaves  of 
Vetius  mirtle,  but  heawen  down  by  a  souldier  with  his  curtleaxe, 
not  bought  with  the  allurement  of  a  filed  tongue.  To  be  briefe 
Gentlemen,  roome  for  a  souldier  and  a  sailer,  that  gives  you  the 
fruits  of  his  labors  that  he  wrought  in  the  Ocean,  when  everie  line 
was  wet  with  a  surge,  and  every  humorous  passion  countercheckt 
with  a  storme.  If  you  like  it,  so  ;  and  yet  I  will  be  yours  in  duetie, 
if  you  bee  mine  in  favour. ^ 

Tieck  conjectured  that  the  title  was  a  kind  of  rejoinder 
to  Ben  Jonson's  boasting  lines  with  which  the  epilogue  of 
Cynthia's  Revels  closes  : 

I  '11  only  speak  what  I  have  heard  him  say, 

"  By 't  is  good,  and  if  you  like  't,  you  may." 

Apart  from  such  a  rejoinder  being  most  uncharacteristic 
of  Shakespeare,  the  date  of  the  production  of  Cynthia's 
Revels  is  fatal  to  the  Tieck  theory.  On  the  other  hand,  it 
is  quite  in  keeping  with  the  satire  on  contemporaries  in 
Cynthia's  Revels  to  read  in  these  lines  of  the  epilogue  a 
covert  sneer  at  the  title  of  Shakespeare's  play. 

1  This  is  an  excellent  specimen  of  Lodge's  euphuistic  diction. 
The  orthography  is  that  of  the  first  edition  of  Rosalynde. 


INTRODUCTION  xvii 

II.    DATE  OF  COMPOSITION 
External  Evidence 

I.   The  Stationers^  Registers.   The  earliest  reference   to 
As  You  Like  It  is  the  following  entry  in   The  Stationers' 

Registers :  ^ 

my  lord  chamberlens  menns  plaies  Entred 
27  may  1600  viz 

to  master        A  moral  of  clothe  breches  and  velvet  hose 

Robertes 
27  May  Allarum  to  London 


To  hym 


4   9tUfl;U6tt 

As  you  like  yt   |   a  booke 
Henry  the  Ffift   |   a  booke 
Euery  man  in  his  humour   |   a  booke 
The  commedie  of  muche  A  doo  about-nothing 
a  booke  1 


-tobestaied^ 


While  As  You  Like  It  and  the  three  companion  plays  have 
no  year  attached  to  the  '  4  August, 'J;here  is  no  question 
that  the  year  1600  is  implied.  Apart  from  the  proximity 
of  '  1600  '  in  the  previous  entry,  we  find  that  later  in  the 
same  month,  with  the  year  1600  clearly  given,  Henry  the 
Fifth,  Every  Man  in  His  Hunioiir,  and  Much  Ado  About 
Nothing  are  entered  again,  the  '  staying '  having  been 
removed.  In  the  case  of  As  You  Like  It,  then,  1600  may 
be  regarded  as  a  terminus  a7ite  que?n  or  latest  limit  to  the 
time  of  composition.  Why  As  You  Like  It  was  not  entered 
again  with  the  others  has  led  to  much  conjecture.  W.  Aldis 
Wright  is  strongly  of  the  opinion  that  the  announcement  of 

1  Professor  E.  Arber's    Transcripts  of  The  Stationers'   Registers 
<i554-i64o),  4  vols.,  1875-1877. 

2  '  To  be  staied '  is  the  old  expression  for  '  not  to  be  printed.' 


xviii        THE   NEW  HUDSON   SHAKESPEARE 

its  publication  was  premature  :  "  the  play  may  not  have 
been  ready."  In  support  of  this  he  contends  that  in  As 
You  Like  It,  *'  even  in  the  form  in  which  it  has  come  down 
to  us,  there  are  marks  of  hasty  work  which  seem  to  indi- 
cate that  it  was  hurriedly  finished."  ^  There  is  more  proba- 
bility that  the  '  staying '  was  the  result  of  a  direct  attempt 
on  the  part  of  Shakespeare,  or  some  one  acting  for  him,  to 
prevent  the  piratical  publication  of  a  popular  new  play, 
the  circulation  of  which  in  book  form  would  seriously 
interfere  with  its  business  success  and  the  receipts  at  the 
theater.  Dr.  Furness  conjectures  that  it  was  the  '  bad  repu- 
tation '  of  James  Roberts  (the  publisher  of  the  Roberts 
Quarto  of  The  Merchant  of  Venice;  his  name  is  in  the 
margin  of  the  entry  in  The  Stationers'  Registers  given  above) 
"  which  caused  the  printing  of  these  plays  when  first  offered 
to  be  forbidden." 

2.  Palladis  Tamia.  As  You  Like  It  is  not  mentioned  by 
Francis  Meres  in  the  list  of  twelve  Shakespeare  plays  given 
in  the  Palladis  Tamia,  1598;  and  as  it  was  likely  to  be 
mentioned  in  that  famous  list  on  account  of  its  popular 
qualities  if  it  had  been  published,  the  negative  evidence 
favors  the  date  of  composition  as  being  not  earlier  than  1598. 

Intkrnal  Evidence 

I.    Quotation  from  Marlozve.    In  III,  v,  80,  81,  we  have  : 

Dead  shepherd,  now  I  find  thy  saw  of  might, — 
"  Who  ever  lov'd  that  lov'd  not  at  first  sight  ? " 

The  quotation  is  from  Marlowe's  Hero  and  Leander,  first 
published  in  1598,  five  years  after  Marlowe's  death.    While 

1  Introduction,  As  Ycni  f.ilcc  It,  Clarendon  Press  edition,  1S76. 


INTRODUCTION  xix 

it  is  possible  that  this  poem  may  have  had  a  manuscript 
circulation  prior  to  1598,  it  is  not  likely  for  two  reasons: 
(i)  the  poem  was  unfinished  at  the  time  of  the  author's 
death,  and  (2)  in  contemporary  literature  there  are  no 
quotations  from  it  before  1598,  but  several  after  that  date. 
This  bit  of  internal  evidence  strengthens  the  negative 
external  evidence  based  on  the  fact  that  the  play  is  not 
mentioned  in  the  Palladis  Tamia. 

2.  Time  a?td  Place  Allusions.  Attempts  have  been  made 
to  base  evidence  upon  Rosalind's  references  to  "  pretty 
oaths  that  are  not  dangerous,"  IV,  i,  166,  and  the  "not 
damnable"  art  of  a  magician,  V,  ii,  57  ;  upon  the  simile 
"like  Diana  in  the  fountain,"  IV,  i,  139  ;  upon  the  allusion 
to  '  half-pence  '  in  III,  ii,  333;  upon  "  east  to  western  Ind," 
III,  ii,  80;  and  upon  "More  free  from  peril  than  the 
envious  court,"  II,  i,  4  ;  but  nothing  satisfactory  has  resulted 
from  all  the  learned  investigation  and  ingenious  research 
involved. 

3.  Tests  of  Diction  and  Verse  Mechanisni.  The  rigid  appli- 
cation of  these  tests,  less  available  in  the  case  of  As  You 
Like  It  because  about  half  the  play  is  in  prose,  strengthens 
evidence  for  the  date  of  composition  being  between  1598 
and  1600. 

The  cumulative  evidence  based  upon  external  and  inter- 
nal tests  favors  15 99-1 600  as  the  date  of  composition.  The 
only  Shakespearian  critic  of  authority  who  stands  for  a  much 
later  date  is  Capell  (1765),  but  the  evidence  of  The  Sta- 
tioners' Registers  was  not  available  to  him  when  he  assigned 
the  date  of  composition  to  1607. 


XX  THE   NEW  HUDSON  SHAKESPEARE 

III.    EDITIONS 

The  entry  in  The  Stationers^  Registers  given  above 
makes  clear  that  a  Quarto  edition  of  As  You  Like  It  was 
planned  for  1600  —  the  year  that  saw  the  publication  of  at 
least  ten  Shakespeare  Quartos  ;  but  while  hopes  have  been 
entertained  by  Staunton  and  others  that  an  As  You  Like  It 
Quarto  may  yet  be  discovered,  such  a  thing  is  extremely 
unlikely,  as  when  Jaggard  and  Blount  received  permission 
to  print  the  First  Folio,  As  You  Like  It  is  on  the  list  of 
plays  "  not  formerly  entred  to  other  men."  It  was  published 
for  the  first  time  in  the  First  Folio  (1623),  designated  in  this 
edition  Fi.  It  stands  between  The  MercJiant  of  Venice  and 
The  Taming  of  the  Shrew,  and  runs  from  page  185  to  page 
207  inclusive.  The  printing  is  excellent,  and  there  is  every 
evidence  that  the  text  is  sound  and  trustworthy.  The  text 
of  the  Second  Folio,  F2  (1632),  the  Third  Folio,  F3  (1663, 
1664),  and  the  Fourth  Folio,  F4  (1685),  is  almost  identical 
with  that  of  the  First  Folio  ;  the  few  interesting  variations 
that  exist  are  indicated  in  the  textual  notes  of  this  edition. 

IV.  DRAMATIC   STRUCTURE 

Shakespeare  is  always  peculiarly  happy  in  what  is  known 
technically  as  the  exposition,  or  introduction,  of  a  play. 
The  first  scene  of  the  first  act  of  As  You  Like  Lt  is  an 
excellent  example  of  this  skill.  It  tells  the  audience  some- 
thing of  the  circumstances  of  all  the  leading  characters 
and  prepares  for  every  tangle  in  the  complication,  or  rising 
action.  The  climax  is  in  the  meeting  of  Rosalind  and 
Orlando  in  the  forest  of  Arden  in  the  second  scene  of  the 


INTRODUCTION  xxi 

third  act.  In  the  resolution,  or  falling  action,  is  given  in 
delightful  balance  the  progress  of  the  wooing  of  the  four 
pairs  of  lovers  —  Audrey  and  Touchstone,  Phebe  and 
Silvius,  Celia  and  Oliver,  in  symmetrical  subordination 
and  pleasing  contrast  to  the  central  figures,  Rosalind  and 
Orlando.  "  Now  up,  now  down,  as  bokets  in  a  welle  "  — • 
such  are  the  conditions  of  the  wooing  and  the  winning 
until  the  happy  denouement  of  conventional  comedy  is 
reached  in  the  dance  under  the  greenwood  tree. 


<^ 


V.   DICTION  AND  VERSIFICATION 

Prose 

More  than  half  of  As  Vou  Like  It  is  written  in  prose,^ 
probably  due  to  the  influence  of  Sidney's  Arcadia  and 
Lodge's  Rosalytide  and  the  general  literary  fashion  in  favor 
of  prose  pastorals.  The  prose  of  As  You  Like  It  is  of  two 
distinct  kinds  —  the  prose  spoken  by  Touchstone,  Audrey, 
and  William  representing  the  speech  of  servants  and  coun- 
try folks,  and  the  witty  sparkling  prose  of  high  comedy  as 
in  Rosalind's  conversations.  The  former  is  a  development 
of  the  humorous  prose  found,  for  example,  in  Greene's 
comedies  that  deal  with  country  life  ;  the  latter  is  a  devel- 
opment of  Lyly's  essentially  euphuistic  prose.  In  Shake- 
speare's hands  the  two  kinds  reach  new  and  unexpected 
developments ;  and  in  this  play  are  passages  of  such 
strength  and  idiomatic  excellence  as  give  Shakespeare  a 
supreme  place  as  a  master  of  expression  in  prose. 

^  According  to  Furnivall's  table,  1681  lines  of  prose  to  925  of 
blank  verse. 


xxii         THE  NEW  HUDSON   SHAKESPEARE 

Blank  Verse 

The  blank  verse  of  As  You  Like  li,  while  free  from  the 
obvious  restraint  and  regularity  which  mark  that  of  Shake- 
speare's earlier  plays,  does  not  reach  the  swing  and  move- 
ment of  that  in  the  great  tragedies  and  the  later  comedies. 
Much  of  it  is  normal  five-stress  iambic  verse  with  a  tendency 
to  end-stopped  lines,  balanced  by  a  goodly  proportion  of 
double  endings.  Here  and  there  in  the  more  impassioned 
scenes  there  are  adumbrations  of  the  grand  style  of  Hamlet 
and  The  Tempest. 

Rhyme 

1.  Couplets.  As  You  Like  Lt  shows  the  marked  decrease 
in  the  use  of  rhymed  couplets  in  the  dialogue  which  distin- 
guishes The  Merchant  of  Venice  and  the  plays  of  Shake- 
speare's maturity  from  the  earlier  comedies.  Most  of  the 
rhymed  couplets  in  As  You  Like  Lt  are  either  tags  at  the  end 
of  scenes  or  for  the  purpose  of  giving  edge  and  distinction 
to  such  proverbial  wisdom  as  Adam  occasionally  indulges  in. 
Orlando's  soliloquy  in  the  forest,  III,  ii,  i-io,  is  in  two 
quatrains  rhyming  alternately  and  closed  by  a  couplet  — 
a  Shakespeare  sonnet  short  of  a  quatrain. 

2.  Orlando's  Verses.  Like  the  scrolls  within  the  caskets 
in  The  Merchatit  of  Venice,  Orlando's  poem  in  praise  of 
Rosalind,  III,  ii,  80-87,  is  i'^  four-stress  trochaic  verse  cata- 
lectic  ;  so,  of  course,  is  Touchstone's  '  false  gallop.'  In  the 
poem  Celia  reads,  III,  ii,  1 17-146,  the  lines  rhyme  alter- 
nately and  close  with  six  normal  four-stress  iambic  lines. 

3.  Songs.  The  exquisite  songs,  "  Under  the  greenwood 
tree,"  II,  v,  1-8  ;  "  Blow,  blow,  thou  winter  wind,"  II,  vii, 
1 73-189  ;  "  What  shall  he  have  that  kill'd  the  deer  ?  "  IV, 


INTRODUCTION  xxiii 

ii,  10-18,  and  "  It  was  a  lover  and  his  lass,"  V,  iii,  15-32, 
are  in  iambic  verse  with  trochaic  and  amphibrachic  effects 
in  the  refrains. 


VI.    THE   CHARACTERS 

As  You  Like  It  is  exceedingly  rich  and  varied  in  character. 
The  several  persons  stand  out  round  and  clear  in  themselves, 
yet  their  distinctive  traits  in  a  remarkable  degree  sink  quietly 
into  the  feelings  without  reporting  themselves  in  the  under- 
standing ;  for  which  cause  the  clumsy  methods  of  criticism 
are  httle  able  to  give  them  expression.  Subtile  indeed  must 
be  the  analysis  that  should  reproduce  them  to  the  intellect 
without  help  from  dramatic  art. 

Properly  speaking,  the  play  has  no  hero ;  for,  though 
Orlando  occupies  the  foreground,  the  characters  are  mainly 
coordinate ;  the  design  of  the  work  precluding  any  subor- 
dination among  them.  Diverted  by  fortune  from  all  their 
cherished  plans  and  purposes,  they  pass  before  us  in  just 
that  moral  and  intellectual  dishabille  which  best  reveals  their 
indwelling  graces  of  mind  and  heart.  Schlegel  remarks  that 
"the  poetjeems  to  have  aimed,  throughout,  at  showing  that 
nothing  is  wanting  to  call  forth  the  poetry  that  has  its  dwell- 
ing in  nature  and  the  human  mind,  but  to  throw  off  all  arti- 
ficial restraint  and  restore  both  to  their  native  liberty."  This 
is  well  said ;  but  it  should  be  observed  that  the  persons 
have  already  been  "  purified  by  suffering "  ;  and  that  it 
was  under  the  discipline  of  social  restraint  that  they  devel- 
oped the  virtues  which  make  them  go  right  without  such 
restraint,  as  indeed  they  do,  while  we  are  conversing  with 
them.    Because  they  have  not  hitherto  been  altogether  free 


xxiv         THE   NEW  HUDSON   SHAKESPEARE 

to  do  as  they  would,  therefore  it  is  that  they  are  good  and 
beautiful  in  doing  as  they  have  a  mind  to  now.  After  all, 
the  ordinary  conditions  of  social  and  domestic  life  give  us 
far  more  than  they  take  away.  It  requires  a  long  schooling 
in  the  prescriptions  of  order  and  rectitude  to  fit  us  for  being 
left  to  ourselves.  In  some  sense  indeed  it  is  a  great  enlarge- 
ment  of  liberty  to  be  rid  of  all  the  loves  and  duties  and  rev- 
erences which  the  past  may  have  woven  about  us  ;  and  many 
there  are  who  seem  to  place  freedom  of  mind  in  having  noth- 
ing to  look  up  to,  nothing  to  respect  outside  of  themselves. 
But  human  virtue  does  not  grow  in  this  way,  and  the  stream 
must  soon  run  dry  if  cut  off  from  the  spring.  The  liberty 
that  goes  by  unknitting  the  bands  of  reverence  and  dissolv- 
ing the  ties  that  draw  and  hold  men  together  in  the  charities 
of  a  common  life  is  not  the  liberty  that  Shakespeare  teaches. 
It  is  true,  however,  that  in  As  You  Like  It  the  better  tran- 
spirations of  character  are  mainly  conducted  in  the  eye  of 
nature,  where  the  passions  and  vanities  that  so  much  dis- 
figure human  life  find  little  to  stir  them  into  act.  In  the 
freedom  of  their  woodland  resort,  and  with  the  native  inspi- 
rations of  the  place  to  kindle  and  gladden  them,  the  persons 
have  but  to  live  out  the  handsome  thoughts  which  they  have 
elsewhere  acquired.  Man's  tyranny  has  indeed  driven  them 
into  banishment ;  but  their  virtues  are  much  more  the  growth 
of  the  place  they  are  banished  from  than  of  the  place  they 
are  banished  to. 

Orlando 

Orlando  is  altogether  such  a  ])iece  of  young  manhood  as 
it  does  one  good  to  be  with.  He  has  no  special  occasion  for 
heroism,  yet  we  feel  that  there  is  plenty  of  heroic  stuff  in  him. 


INTRODUCTION  xxv 

Brave,  gentle,  modest,  and  magnanimous ;  never  thinking 
of  his  high  birth  but  to  avoid  dishonoring  it ;  in  his  noble- 
heartedness  forgetting,  and  causing  others  to  forget,  his 
nobiUty  of  rank,  he  is  every  way  just  such  a  man  as  all  true 
men  would  choose  for  their  best  friend.  His  persecuting 
brother,  talking  to  himself,  describes  him  as  "  never  school'd, 
and  yet  learn'd  ;  full  of  noble  device ;  of  all  sorts  enchant- 
ingly  belov'd ;  and  indeed  so  much  in  the  heart  of  the  world, 
and  especially  of  my  own  people,  who  best  know  him,  that  I 
am  altogether  mispris'd  " ;  and  this  description  is  amply 
justified  by  his  behavior.  The  whole  intercourse  between 
him  and  the  faithful  old  retainer  Adam  is  replete  on  both 
sides  with  that  fuU-souled  generosity  in  whose  eye  the  nobil- 
ities of  nature  are  always  sure  of  recognition. 

Shakespeare  evidently  delighted  in  a  certain  natural  har- 
mony of  character  wherein  virtue  is  free  and  spontaneous, 
like  the  breathing  of  perfect  health.  And  such  is  Orlando. 
He  is  therefore  good  without  effort ;  nay,  it  would  require 
some  effort  for  him  to  be  otherwise ;  his  soul  gravitating 
towards  goodness  as  of  its  own  accord  :  "  In  his  proper 
motion  he  ascends ;  descent  and  fall  to  him  is  adverse." 
And  perhaps  the  nearest  he  comes  to  being  aware  of  his 
virtue  is  when  it  triumphs  over  a  mighty  temptation  ;  that 
is,  when  he  sees  his  unnatural  brother  in  extreme  peril ; 

But  kindness,  nobler  ever  than  revenge, 
And  nature,  stronger  than  his  just  occasion, 

made  him  risk  his  own  life  to  save  Oliver  ;  and  even  in  this 
case  the  divine  art  of  overcoming  evil  with  good  seems 
more  an  instinct  than  a  conscious  purpose  with  him.  This 
is  one  of  the  many  instances  wherein  Shakespeare  delivers 


xxvi        THE   NEW  HUDSON    SHAKESPEARE 

the  highest  results  of  Christian  discipline  as  drawing  so 
deeply  and  so  creatively  into  the  heart  as  to  work  out  with 
the  freedom  and  felicity  of  native  original  impulse. 

The  Banished  Duke 

The  banished  Duke  exemplifies  the  best  sense  of  nature 
as  thoroughly  informed  and  built  up  with  Christian  discipline 
and  religious  efficacy ;  so  that  the  asperities  of  life  do  but 
make  his  thoughts  run  the  smoother.  How  sweet,  yet  how 
considerative  and  firm,  is  everything  about  his  temper  and 
moral  frame  !  He  sees  all  that  is  seen  by  the  most  keen- 
eyed  satirist,  yet  is  never  moved  to  be  satirical,  because  he 
looks  with  wiser  and  therefore  kindher  eyes.  The  enmity  of 
fortune  is  fairly  disarmed  by  his  patience ;  her  shots  are  all 
wasted  against  his  breast,  garrisoned  as  it  is  with  the  forces 
of  charity  and  peace  :  his  soul  is  made  storm-proof  by  gen- 
tleness and  truth  :  exile,  penury,  the  ingratitude  of  men,  the 
malice  of  the  elements,  what  are  they  to  him  ?  He  has  the 
grace  to  sweeten  away  their  venom,  and  to  smile  the  sting 
out  of  them.  He  loves  to  stay  himself  upon  the  compensa- 
tions of  life,  and  to  feed  his  gentler  affections  by  dwelling 
upon  the  good  which  adversity  opens  to  him,  or  the  evil 
from  which  it  withdraws  him ;  and  so  he  rejoices  in  finding 
"  these  woods  more  free  from  peril  than  the  envious  court." 
In  his  philosophy,  so  bland,  benignant,  and  contemplative, 
the  mind  tastes  the  very  luxury  of  rest  and  has  an  antepast 
of  measureless  content. 


INTRODUCTION  XXvii 

Touchstone 

Touchstone,  though  he  nowhere  strikes  so  deep  a  chord 
within  us  as  the  poor  fool  in  Kiitg  Lear,  is,  I  think,  the  most 
entertaining  of  Shakespeare's  privileged  characters.  And  he 
is  indeed  a  mighty  delectable  fellow ;  wise,  too,  and  full  of  the 
most  insinuative  counsel.  How  choicely  does  his  grave,  acute 
nonsense  moralize  the  scenes  wherein  he  moves  !  Professed 
clown  though  he  be,  and  as  such  ever  hammering  away  with 
artful  awkwardness  at  a  jest,  a  strange  kind  of  humorous 
respect  still  waits  upon  him  notwithstanding.  It  is  curious 
to  observe  how  Shakespeare  takes  care  to  let  us  know,  from 
the  first,  that  beneath  the  afifectations  of  his  calling  some 
precious  sentiments  have  been  kept  alive ;  that  far  within 
the  fool  there  is  laid  up  a  secret  reserve  of  the  man,  ready 
to  leap  forth  and  combine  with  better  influences  as  soon  as 
the  incrustations  of  art  are  thawed  and  broken  up.  This  is 
partly  done  in  the  scene  where  Rosalind  and  Celia  arrange 
for  their  flight  from  the  usurper's  court.    Rosalind  proposes. 

But,  cousin,  what  if  we  assay'd  to  steal 

The  clownish  fool  out  of  your  father's  court  ? 

Would  he  not  be  a  comfort  to  our  travel  ? 

And  Celia  replies. 

He  '11  go  along  o'er  the  wide  world  with  me  ; 
Leave  me  alone  to  woo  him. 

Where  we  learn  that  some  remnants,  at  least,  of  a  manly 
heart  in  him  have  asserted  their  force  in  the  shape  of  unself- 
ish regards,  strong  as  life,  for  whatever  is  purest  and  loveliest 
in  the  characters  about  him.  He  would  rather  starve  or 
freeze,  with  Celia  near  him,  than  feed  high  and  lie  warm 


xxviii     THE  NEW  HUDSON   SHAKESPEARE 

where  his  eye  cannot  find  her.  If,  with  this  fact  in  view, 
our  honest  esteem  does  not  go  out  towards  him,  then  we,  I 
think,  are  fools  in  a  worse  sense  than  he  is. 

So  much  for  the  substantial  manhood  "of  Touchstone,  and 
for  Shakespeare's  human-heartedness  in  thus  putting  us  in 
communication  with  it.  As  for  the  other  points  of  his  char- 
acter, it  is  impossible  to  draw  a  reader  into  them  by  any 
turn  of  analysis.  Used  to  a  life  cut  off  from  human  sympa- 
thies ;  stripped  of  the  common  responsibilities  of  the  social 
state ;  living  for  no  end  but  to  make  aristocratic  idlers  laugh ; 
one  therefore  whom  nobody  heeds  enough  to  resent  or  be 
angry  at  anything  he  says  ;  —  of  course  his  habit  is  to  speak 
all  for  effect,  nothing  for  truth  :  instead  of  reflecting  the 
natural  force  and  image  of  things,  his  vocation  is  to  wrest 
and  trans-shape  them  from  their  true  form  and  pressure. 
Thus  a  strange  wilfulness  and  whimsicality  has  wrought  itself 
into  the  substance  of  his  mind.  He  takes  nothing  for  what 
it  is  in  itself,  but  only  for  the  odd  quirks  of  thought  he  can 
twist  out  of  it.  Yet  his  nature  is  not  so  "  subdued  to  what 
it  works  in  "  but  that,  amidst  the  scenes  and  inspirations  of 
the  forest,  the  fool  quickly  slides  into  the  man  ;  the  super- 
venings  of  the  place  so  running  into  and  athwart  what  he 
brings  with  him  that  his  character  comes  to  be  as  dappled 
and  motley  as  his  dress.  Even  the  new  passion  which  there 
overtakes  him  has  a  touch  of  his  wilfulness  in  it :  when  he 
falls  in  love,  as  he  really  does,  nothing  seems  to  inspire  and 
draw  him  more  than  the  unattractiveness  of  the  object,  thus 
approving  that  even  so  much  of  nature  as  survives  in  him 
is  not  content  to  run  in  natural  channels. 


INTRODUCTION  xxix 

Jaques 

Jaques  is  a  universal  favorite,  as  indeed  he  well  may  be, 
for  he  is  certainly  one  of  Shakespeare's  happiest  conceptions. 
Without  being  at  all  unnatural,  he  has  an  amazing  fund 
of  peculiarity.  Enraptured  out  of  his  senses  at  the  voice 
of  a  song ;  thrown  into  a  paroxysm  of  laughter  at  sight  of 
the  motley-clad  and  motley-witted  fool ;  and  shedding  the 
twihght  of  his  merry-sad  spirit  over  all  the  darker  spots  of 
human  life  and  character,  he  represents  the  abstract  and 
sum  total  of  an  utterly  useless  yet  perfectly  harmless  man, 
seeking  wisdom  by  abjuring  its  first  principle.  An  odd 
choice  mixture  of  reality  and  affectation,  he  does  nothing 
but  think,  yet  avowedly  thinks  to  no  purpose  ;  or  rather 
thinking  is  with  him  its  own  end.  On  the  whole,  if  in 
Touchstone  there  is  much  of  the  philosopher  in  the  fool,  in 
Jaques  there  is  not  less  of  the  fool  in  the  philosopher;  so 
that  the  German  critic,  Ulrici,  is  not  so  wide  of  the  mark 
in  calling  them  "  two  fools." 

Jaques  is  equally  wilful,  too,  with  Touchstone,  in  his  turn 
of  thought  and  speech,  though  not  so  conscious  of  it ;  and 
as  he  plays  his  part  more  to  please  himself,  so  he  is  propor- 
tionably  less  open  to  the  healing  and  renovating  influences 
of  nature.  We  cannot  justly  affirm,  indeed,  that  "  the  soft 
blue  sky  did  never  melt  into  his  heart,"  as  Wordsworth  says 
of  his  Peter  Bell ;  but  he  shows  more  of  resistance  than  all 
the  other  persons  to  the  poetries  and  eloquences  of  the  place. 
Tears  are  a  great  luxury  to  him  :  he  sips  the  cup  of  woe  with 
all  the  gust  of  an  epicure.  Still  his  temper  is  by  no  means 
sour  :  fond  of  solitude,  he  is  nevertheless  far  from  being 
unsocial.    The  society  of  good  men,  provided  they  be  in 


XXX         THE   NEW  HUDSON   SHAKESPEARE 

adversity,  has  great  charms  for  him.  He  likes  to  be  with  those 
who,  though  deserving  the  best,  still  have  the  worst :  virtue 
wronged,  buffeted,  oppressed,  is  his  special  delight,  because 
such  moral  discrepancies  offer  the  most  salient  points  to  his 
cherished  meditations.  He  himself  enumerates  nearly  all  the 
forms  of  melancholy  except  his  own,  which  I  take  to  be  the 
melancholy  of  self-love.  And  its  effect  in  his  case  is  not  un- 
like that  of  Touchstone's  art ;  inasmuch  as  he  greatly  delights 
to  see  things  otherwise  than  as  they  really  are,  and  to  make 
them  speak  out  some  meaning  that  is  not  in  them  ;  that  is, 
their  plain  and  obvious  sense  is  not  to  his  taste.  Nevertheless 
his  melancholy  is  grateful,  because  free  from  any  dash  of 
malignity.  His  morbid  habit  of  mind  seems  to  spring  from 
an  excess  of  generative  virtue.  And  how  racy  and  original 
is  everything  that  comes  from  him  !  as  if  it  bubbled  up  from 
the  center  of  his  being ;  while  his  perennial  fullness  of  mat- 
ter makes  his  company  always  delightful.  The  Duke  loves 
especially  to  meet  him  in  his  '  sullen  fits,'  because  he  then 
overflows  with  his  most  idiomatic  humor.  After  all,  the 
worst  that  can  be  said  of  Jaques  is  that  the  presence  of  men 
■who  are  at  once  fortunate  and  deserving  corks  him  up; 
which  may  be  only  another  way  of  saying  that  he  cannot 
open  out  and  run  over,  save  where  things  are  going  wrong. 

Rosalind  and  Celia 

It  is  something  uncertain  whether  Jaques  or  Rosalind  be 
the  greater  attraction  :  there  is  enough  in  either  to  make  the 
play  a  continual  feast,  though  her  charms  are  less  liable  to 
be  staled  by  use,  because  they  result  from  health  of  mind  and 
symmetry  of  character,  so  that  in  her  ])rcsence  the  head 
and  the  heart  draw  together  j)erfectly.    She  never  starts  any 


INTRODUCTION  xxxi 

moral  or  emotional  reluctances  in  our  converse  with  her : 
all  our  sympathies  go  along  with  her  freely,  because  she  never 
jars  upon  them,  or  touches  them  against  the  grain. 

For  wit,  this  strange,  queer,  lovely  being  is  fully  equal  to 
Beatrice,  yet  nowise  resembling  her,  A  soft,  subtile,  nimble 
essence,  consisting  in  one  knows  not  what,  and  springing  up 
one  can  hardly  tell  how,  her  wit  neither  stings  nor  burns,  but 
plays  briskly  and  airily  over  all  things  within  its  reach,  enrich- 
ing and  adorning  them  ;  insomuch  that  one  could  ask  no 
greater  pleasure  than  to  be  the  continual  theme  of  it.  In  its 
irrepressible  vivacity  it  waits  not  for  occasion,  but  runs  on  for- 
ever, and  we  wish  it  to  run  on  forever.  We  have  a  sort  of 
faith  that  her  dreams  are  made  up  of  cunning,  quirkish,  grace- 
ful fancies,  her  wits  being  in  a  frolic  even  when  she  is  asleep. 
And  her  heart  seems  a  perennial  spring  of  affectionate  cheer- 
fulness :  no  trial  can  break,  no  sorrow  chill,  her  flow  of 
spirits  ;  even  her  sighs  are  breathed  forth  in  a  wrappage 
of  innocent  mirth  ;  an  arch,  roguish  smile  irradiates  her 
saddest  tears.  No  sort  of  unhappiness  can  live  in  her  com- 
pany :  it  is  a  joy  even  to  stand  her  chiding  ;  for,  faster  than 
her  tongue  doth  make  offense,  her  eye  doth  heal  it  up. 

So  much  for  her  choice  idiom  of  wit.  She  also  aptly 
illustrates  Shakespeare's  peculiar  use  of  humor.  The  dif- 
ference of  wit  and  humor  is  too  well  understood  to  need 
any  special  exposition.  But  the  two  often  go  together ; 
though  there  is  a  form  of  wit,  much  more  common,  that 
burns  and  dries  the  juices  all  out  of  the  mind,  and  turns  it 
into  a  kind  of  sharp,  stinging  wire.  Now  Rosalind's  sweet 
estabhshment  is  thoroughly  saturated  with  humor,  and  this 
too  of  the  freshest  and  wholesomest  quality.  And  the  effect 
of  her  humor  is,  as  it  were,  to  lubricate  all  her  faculties, 


xxxil      THE  NEW  HUDSON   SHAKESPEARE 

and  make  her  thoughts  run  brisk  and  glib  even  when  grief 
has  possession  of  her  heart.  Through  this  interfusive  power, 
her  organs  of  play  are  held  in  perfect  concert  with  her 
springs  of  serious  thought.  Hence  she  is  outwardly  merry 
and  inwardly  sad  at  the  same  time.  We  may  justly  say  that 
she  laughs  out  her  sadness,  or  plays  out  her  seriousness  :  the 
sorrow  that  is  sweUing  her  breast  puts  her  wits  and  spirits 
into  a  frohc  ;  and  in  the  mirth  that  overflows  through  her 
tongue  we  have  a  relish  of  the  grief  with  which  her  heart 
is  charged.  And  our  sympathy  with  her  inward  state  is  the 
more  divinely  moved,  forasmuch  as  she  thus,  with  inde- 
scribable delicacy,  touches  it  through  a  masquerade  of  play- 
fulness. Yet,  beneath  all  her  frolicsomeness,  we  feel  that 
there  is  a  firm  basis  of  thought  and  womanly  dignity ;  so 
that  she  never  laughs  away  our  respect. 

It  is  quite  remarkable  how,  in  respect  of  her  disguise, 
Rosalind  just  reverses  the  conduct  of  Viola,  yet  with  much 
the  same  effect.  For,  though  she  seems  as  much  at  home 
in  her  male  attire  as  if  she  had  always  worn  it,  this  never 
strikes  us  otherwise  than  as  an  exercise  of  skill  for  the  per- 
fecting of  her  masquerade.  And  on  the  same  principle  her 
occasional  freedoms  of  speech  serve  to  deepen  our  sense  of 
her  innate  delicacy  ;  they  being  manifestly  intended  as  a 
part  of  her  disguise,  and  springing  from  the  feeling  that  it 
is  far  less  indelicate  to  go  a  little  out  of  her  character,  in 
order  to  prevent  any  suspicion  of  her  sex,  than  it  would  be 
to  hazard  such  a  suspicion  by  keeping  strictly  within  her 
character.  In  other  words,  her  free  talk  bears  much  the 
same  relation  to  her  character  as  her  dress  does  to  her  per- 
son, and  is  therefore  becoming  to  her  even  on  the  score 
of  feminine  modesty.    Celia  appears  well  worthy  of  a  place 


INTRODUCTION  xxxiii 

beside  her  whose  love  she  shares  and  repays.  Instinct  with 
the  soul  of  moral  beauty  and  female  tenderness,  the  friend- 
ship of  these  more  than  sisters  "  mounts  to  the  seat  of  grace 
within  the  mind." 

We  still  have  slept  together, 
Rose  at  an  instant,  learn 'd,  play'd,  eat  together; 
And  wheresoe'er  we  went,  like  Juno's  swans, 
Still  we  went  coupled  and  inseparable. 


VII.    GENERAL   CHARACTERISTICS 

The  general  drift  and  temper,  or,  as  some  of  the  German 
critics  would  say,  the  ground  idea  of  this  play,  is  aptly 
hinted  by  the  title.  As  for  the  beginnings  of  what  is  here 
represented,  these  do  not  greatly  concern  us  ;  most  of  them 
lie  back  out  of  our  view,  and  the  rest  are  soon  lost  sight  of 
in  what  grows  out  of  them  ;  but  the  issues,  of  which  there 
are  many,  are  all  exactly  to  our  mind  ;  we  feel  them  to  be 
just  about  right,  and  would  not  have  them  otherwise.  For 
example,  touching  Frederick  and  Oliver,  our  wish  is  that 
they  should  repent,  and  repair  the  wrong  they  have  done, 
in  brief  that  they  should  become  good ;  which  is  precisely 
what  takes  place  ;  and  as  soon  as  they  do  this,  they  natu- 
rally love  those  who  were  good  before.  Jaques,  too,  is  so 
fitted  to  moralize  the  discrepancies  of  human  life,  so  happy 
and  at  home  and  withal  so  agreeable  in  that  exercise,  that 
we  would  not  he  should  follow  the  good  Duke  when  in  his 
case  those  discrepancies  are  composed.  The  same  might 
easily  be  shown  in  respect  of  the  other  issues.  Indeed  any 
genial,  considerate  reader  might  be  asked.  Does  not  every- 
thing turn  out  just  as  you  like  it?    Moreover  there  is  an 


xxxiv     THE   NEW  HUDSON   SHAKESPEARE 

indefinable  something  about  the  play  that  puts  us  in  a  re- 
ceptive frame  of  mind ;  that  opens  the  heart,  soothes  away 
all  querulousness  and  fault-finding,  and  makes  us  easy  and 
apt  to  be  pleased.  Thus  Shakespeare  here  disposes  us  to 
like  things  as  they  come,  and  at  the  same  time  takes  care 
that  they  shall  come  as  we  like.  The  whole  play,  indeed,  is 
as  you  like  it. 

Much  has  been  said  by  one  critic  and  another  about  the 
improbabilities  in  this  play.  To  such  the  best  reply  is  the 
criticism  of  the  poet  Campbell :  "  Before  I  say  more  of 
this  dramatic  treasure,  I  must  absolve  myself  by  a  confes- 
sion as  to  some  of  its  improbabilities.  Rosalind  asks  her 
cousin  Celia,  'Whither  shall  we  go?'  and  Celia  answers, 
'To  seek  my  uncle  in  the  forest  of  Arden.'  But,  arrived 
there,  and  having  purchased  a  cottage  and  sheep  farm, 
neither  the  daughter  nor  niece  of  the  banished  Duke  seem 
to  trouble  themselves  much  to  inquire  about  either  father 
or  uncle.  The  lively  and  natural-hearted  Rosalind  dis- 
covers no  impatience  to  embrace  her  sire,  until  she  has 
finished  her  masked  courtship  with  Orlando.  But  Rosalind 
was  in  love,  as  I  have  been  with  the  comedy  these  forty 
years ;  and  love  is  blind  ;  for  until  a  late  period  my  eyes 
were  never  couched  so  as  to  see  this  objection.  The  truth 
however  is,  that  love  is  wilfully  blind  :  and  now  that  my 
eyes  are  opened,  I  shut  them  against  the  fault.  Away  with 
your  best-proved  improbabilities,  when  the  heart  has  been 
touched  and  the  fancy  fascinated." 

Again ;  the  bringing  of  lions,  serpents,  palm  trees,  rustic 
shepherds,  and  banished  noblemen  together  in  the  forest 
of  Arden  is  a  strange  piece  of  geographical  license,  which 
certain  critics  have  not  failed  to  make  merry  with.    Perhaps 


INTRODUCTION  xxxv 

they  did  not  see  that  the  very  grossness  of  the  thing 
proves  it  to  have  been  designed.  Shakespeare  keeps  his 
geography  true  enough  whenever  he  has  cause  to  do  so. 
He  knew,  at  all  events,  that  lions  did  not  roam  at  large  in 
France.  By  this  irregular  combination  of  actual  things,  he 
informs  the  whole  with  ideal  effect,  giving  to  this  charming 
issue  of  his  brain  "a  local  habitation  and  a  name,"  that  it 
may  link  in  with  our  flesh-and-blood  sympathies,  and  at  the 
same  time  turning  it  into  a  wild,  wonderful,  remote,  fairy- 
land region,  where  all  sorts  of  poetical  things  may  take 
place  without  the  slightest  difficulty.  Of  course  Shake- 
speare would  not  have  done  thus,  but  that  he  saw  quite 
through  the  grand  critical  humbug  which  makes  the  proper 
effect  of  a  work  of  art  depend  upon  our  belief  in  the  actual 
occurrence  of  the  thing  represented.  But  your  "  critic 
grave  and  cool "  is  one  who,  like  Wordsworth's  "  model  of  a 

child," 

Can  string  you  names  of  districts,  cities,  towns, 

The  whole  world  over,  tight  as  beads  of  dew 

Upon  a  gossamer  thread  :  he  sifts,  he  weighs  ; 

All  things  are  put  to  question ;  he  must  live 

Knowing  that  he  grows  wiser  every  day, 

Or  else  not  live  at  all,  and  seeing  too 

Each  little  drop  of  wisdom  as  it  falls 

Into  the  dimpling  cistern  of  his  heart. 

O,  give  us  once  again  the  wishing-cap 

Of  Fortunatus,  and  the  invisible  coat 

Of  Jack  the  Giant-killer,  Robin  Hood, 

And  Sabra  in  the  forest  with  Saint  George  1 

The  child,  whose  love  is  here,  at  least  doth  reap 

One  precious  gain,  that  he  forgets  himself. 

The  whole  of  As  You  Like  It  is  replete  with  a  beauty  so 
delicate  yet  so  intense  that  we  feel  it  everywhere,  but  can 


xxxvi     THE   NEW  HUDSON   SHAKESPEARE 

never  tell  especially  where  it  is  or  in  what  it  consists.  For 
instance,  the  descriptions  of  forest  scenery  come  along  so 
unsought  and  in  such  easy,  quiet,  natural  touches  that  we 
take  in  the  impression  without  once  noticing  what  it  is  that 
impresses  us.  Thus  there  is  a  certain  woodland  freshness, 
a  glad,  free  naturalness,  that  creeps  and  steals  into  the  heart 
before  we  know  it.  And  the  spirit  of  the  place  is  upon  its 
inhabitants,  its  genius  within  them  :  we  almost  breathe  with 
them  the  fragrance  of  the  forest,  and  listen  to  "  the  melodies 
of  woods  and  winds  and  waters,"  and  feel 

The  power,  the  beauty,  and  the  majesty, 

That  have  their  haunts  in  dale,  or  piny  mountain, 

Or  forest  by  slow  stream,  or  pebbly  spring. 

Even  the  court  fool,  notwithstanding  all  the  crystallizing 
process  that  has  passed  upon  him,  undergoes,  as  we  have 
seen,  a  sort  of  rejuvenescence  of  his  inner  man,  so  that  his 
wit  catches  at  every  turn  the  fresh  hues  and  odors  of  his 
new  whereabout.  Surely  Milton  had  a  special  eye  to  this 
play  in  the  lines  : 

And  sweetest  Shakespeare,  Fancy's  child, 
Warbles  his  native  wood-notes  wild. 

Such  is  As  You  Like  It.  The  play  abounds  in  wild 
frolicsome  graces  which  cannot  be  described ;  which  can 
only  be  seen  and  felt ;  and  which  the  hoarse  voice  of  criti- 
cism seems  to  scare  away,  as  the  crowing  of  cocks  is  said 
to  have  scared  away  the  fairy  spirits  from  their  nocturnal 
pastimes.  To  all  which  add  that  the  kindlier  sentiments 
everywhere  in  the  play  seem  playing  out  in  a  sort  of 
jubilee.  Untied  from  set  purposes  and  definite  aims,  the 
persons  come  forth  with  their  hearts  already  tuned,  and  all 


INTRODUCTION  xxxvii 

they  say  and  do  is  music.  Envy,  jealousy,  avarice,  revenge, 
all  the  passions  that  afflict  and  degrade  society,  they  have 
left  in  the  city  behind  them.  And  they  have  brought  the 
intelligence  and  refinement  of  the  court  without  its  vanities 
and  vexations,  so  that  the  graces  of  art  and  the  simplicities 
of  nature  meet  together  in  joyous,  loving  sisterhood.  A 
serene  and  mellow  atmosphere  of  thought  encircles  and 
pervades  the  actors  in   this  drama,  as   if  on  purpose  to 

illustrate  how 

One  impulse  from  a  vernal  wood 

May  teach  you  more  of  man, 
Of  moral  evil,  and  of  good, 
Than  all  the  sages  can. 

Nature  throws  her  protecting  arms  around  them  ;  beauty 
pitches  her  tents  before  them  ;  heaven  rains  its  riches  upon 
them;  with  "no  enemy  but  winter  and  rough  weather," 
peace  hath  taken  up  her  abode  with  them ;  and  they  have 
nothing  to  do  but  to  "  fleet  the  time  carelessly,  as  they  did 
in  the  golden  world." 


ABBREVIATIONS  USED  IN  THE  NOTES 

Fi  =  First  Folio,  1623. 
F2  =  Second  Folio,  1632. 
F3  =  Third  Folio,  1664. 
F4  =  Fourth  Folio,  1685. 
Ff  =  all  the  seventeenth  century  Folios. 
Rowe  =  Rowe's  editions,  1709,  1714. 
Pope  =  Pope's  editions,  1723,  1728. 
Theobald  =  Theobald's  editions,  1733,  I740- 
Hanmer  =  Hanmer's  edition,  1744. 
Johnson  =:  Johnson's  edition,  1765. 
Capell  =  Capell's  edition,  1768. 
Malone  =  Malone's  edition,  1790. 
Camb  =  Cambridge  edition  (W.  A.  Wright),  1891. 
Clar  =  Clarendon  Press  edition  (W.  A.  Wright),  1876. 
Furness  =  H.  H.  Furness's  A  New  Variorutn.     As  Yaii  Like  It, 

1890. 
Abbott  =  E.  A.  Abbott's  A  Shakespearian  Grammar. 
Cotgrave  =  Cotgrave's    Dictionarie    of  the    French    and  English 
Tongues,  161 1. 
Schmidt  =  Schmidt's  Shakespeare  Lexico7t. 
Skeat  =  Skeat's  An  Etytnological  Dictionary. 
Murray  =  A  New  English  Dictionary  i^The  Oxford  Dictionary). 
Century  =  The  Century  Dictionary. 

Other  abbreviations  are  either  self-explanatory  or  such  as  are  in 
common  use. 


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xliii 


AS  YOU  LIKE  IT 


DRAMATIS   PERSON^i 

Duke,  living  in  banishment. 

Frederick,  his  brother,  and  usurper  of  his  dominions. 

''^'^"^^^'1  lords  attending  on  the  banished  Duke. 
Jaques,2J 

Le  Beau,^  a  courtier  attending  upon  Frederick. 

Charles,  wrestler  to  Frederick. 

Oliver,     ^ 

Jaques,       J-sons  of  Sir  Rowland  de  Boys. 

Orlando,  J 

Adam,    ^  .    .     ^,. 

„  ^servants  to  Oliver. 

Dennis,  J 

Touchstone,  a  clown. 

Sir*  Oliver  Martext,  a  vicar. 

Co^^^'     \  shepherds. 

SlLVIUS,oJ 

William,  a  country  fellow,  in  love  with  Audrey. 
A  person  representing  Hymen. 

Rosalind,  daughter  to  the  banished  Duke. 
Celia,  daughter  to  Frederick. 
Phebe,  a  shepherdess. 
Audrey,®  a  country  wench. 

Lords,  Pages,  Foresters,  and  other  Attendants. 

Scene:  Oliver's  house,  Duke  Frederick's  court,  and  the  Forest  of  Arden. 

1  Dramatis  PERSONiE.  First  given  by  Rowe  (1709).  After  the  names 
Corin  and  Sylvius  (Silvius),  Rowe  (1714)  added  '  A  clown  in  love  with 
Audrey,'  and  '  William,  another  clown  in  love  with  Audrey.'  Capell  added 
to  Rowe's  list  'a  person  presenting  Hymen.' 

2  Jaques.  In  certain  districts  of  England  this  name  is  and  has  been  pro- 
nounced as  a  monosyllable,  but  Shakespeare,  Kyd,  Greene,  and  Beaumont 
and  Fletcher  treat  it  as  a  dissyllable,  and,  wherever  the  name  occurs  in  their 
verse,  the  metre  requires  it  to  be  pronounced  so.    See  Furness. 

3  Le  Beau.  This  name  is  spelled '  Le  Beu  '  everywhere  in  the  First  Folio, 
except  in  the  stage  direction  upon  the  courtier's  first  entrance,  where  it  is 
given  as  in  the  text. 

<  Sir.    See  note,  p.  90,  1.  36. 

6  Silvius.  So  the  name  is  spelled  in  the  First  Folio.  Rowe  adopted 
'Sylvius.' 

8  Audrey.    See  note,  p.  87. 


ACT  I 

Scene  I.    Orchard  of  Oliver's  house 

Enter  Orlando  and  Adam 

Orlando.  As  I  remember,  Adam,  it  was  upon  this 
fashion  bequeath'd  me  by  will  but  poor  a  thousand  crowns ; 
and,  as  thou  say'st,  charg'd  my  brother,  on  his  blessing,  to 
breed  me  well :  and  there  begins  my  sadness.  My  brother 
Jaques  he  keeps  at  school,  and  report  speaks  goldenly  of 

Orchard  of  Oliver's  house  not  2.  fashion  bequeath'd    Ff  |  fash- 
in  Ff.  I  An    Orchard  Rowe  |  Oliver's  ion:  bequeathed  Camb.  —  poor  a  Fi 
House  Pope  I  Oliver's  Orchard  Theo-  la  poor  F2F3F4  Rowe. 
bald. 

Scene  I.  The  division  into  scenes  in  this  edition  is  that  given 
in  the  First  Folio.  The  division  adopted  by  Pope,  and  followed  by 
some  editors,  will  be  indicated  in  the  textual  notes. 

Adam.  There  is  an  interesting  tradition  quoted  by  Steevens  as 
found  in  "  the  manuscript  papers  of  the  late  Mr.  Oldys,"  that  Shake- 
speare himself  took  the  part  of  Adam. 

2.  In  previous  editions  of  Hudson's  Shakespeare,  the  reading 
'fashion,  —  he  bequeathed,'  first  suggested,  though  with  different 
punctuation,  by  Sir  WilHam  Blackstone  and  also  by  Ritson,  was 
adopted.  But  while  there  is  abundant  reason  for  the  pause  after 
'  fashion,'  the  insertion  of  '  he  '  is  unnecessary.  The  ellipsis  of  the 
nominative  is  a  not  unusual  Shakespearian  construction  (Abbott, 
§  399),  and  here  the  omission  of  'he'  (i.e.  'my  father';  cf.  Orlando's 
speech,  "  My  father  charged  you  in  his  will,"  etc.)  may  be  intended 
to  show  the  colloquial  eagerness  of  Orlando's  talk  with  Adam.  See 
Furness.  —  poor  a  thousand.  For  a  discussion  of  such  transposition, 
see  Abbott,  §§  85,  422. 

3.  on  :  as  the  condition  of  obtaining. 

5.  school:  university.      So  in  Hamlet,  I,  ii,  113. 

3 


4  THE  NEW  HUDSON   SHAKESPEARE      act  i 

his  profit ;  for  my  part,  he  keeps  me  rustically  at  home,  or, 
to  speak  more  properly,  stays  me  here  at  home  unkept; 
for  call  you  that  keeping  for  a  gentleman  of  my  birth,  that 
differs  not  from  the  staUing  of  an  ox?  His  horses  are  bred 
better;  for,  besides  that  they  are  fair  with  their  feeding, 
they  are  taught  their  manage,  and  to  that  end  riders  dearly 
hir'd :  but  I,  his  brother,  gain  nothing  under  him  but 
growth ;  for  the  which  his  animals  on  his  dunghills  are  as 
much  bound  to  him  as  I.  Besides  this  nothing  that  he  so 
plentifully  gives  me,  the  something  that  nature  gave  me  his 
countenance  seems  to  take  from  me :  he  lets  me  feed  with 
his  hinds,  bars  me  the  place  of  a  brother,  and,  as  much  as 
in  him  lies,  mines  my  gentility  with  my  education.  This  is 
it,  Adam,  that  grieves  me  ;  and  the  spirit  of  my  father, 
which  I  think  is  within  me,  begins  to  mutiny  against  this 
servitude :  I  will  no  longer  endure  it,  though  yet  I  know 
no  wise  remedy  how  to  avoid  it.  22 

Adam.    Yonder  comes  my  master,  your  brother. 

Orlando.  Go  apart,  Adam,  and  thou  shalt  hear  how  he 
will  shake  me  up.  [Adam  retires'] 

aa.  Here  Ff  have  '  Enter  Oliver.'  as.  Scene  II  Pope. 

II.  manage:  horse-training.    So  in  i  Henry  IV,  II,  iii,  52. 

16.  countenance  :  treatment.  This  use  of  the  word  is  well  explained 
in  Selden's  Table-talk  :  "  The  old  law  was,  that  when  a  man  was  fined, 
he  was  to  be  fined  salvo  contetiefnento,  so  as  his  countenance  might 
be  safe  ;  taking  '  countenance  '  in  the  same  sense  as  your  countryman 
does  when  he  says.  If  you  will  come  unto  my  house,  I  will  show  you 
the  best  countenance  I  can ;  that  is,  not  the  best  face,  but  the  best 
entertainment." 

17.  hinds :  servants.  The  word  in  this  sense  is  still  in  common 
use  in  Scotland. 

18.  What  an  honorable  parentage  has  done  for  me  he  strives  to 
undo  by  base  breeding.  — mines :  undermines.  —  gentility :  noble  birth. 


SCENE  I  AS  YOU   LIKE   IT  5 

Enter  Oliver 

Oliver.    Now,  sir !  what  make  you  here?  26 

Orlando.    Nothing  :   I  am  not  taught  to  make  any  thing. 

Oliver.   What  mar  you  then,  sir? 

Orlando.  Marry,  sir,  I  am  helping  you  to  mar  that  which 
God  made,  a  poor  unworthy  brother  of  yours,  with  idleness. 

Oliver.  Marry,  sir,  be  better  employ'd,  and  be  naught 
awhile.  32 

Orlando.  Shall  I  keep  your  hogs,  and  eat  husks  with 
them?  What  prodigal  portion  have  I  spent,  that  I  should 
come  to  such  penury?  35 

Oliver.    Know  you  where  you  are,  sir? 

Orlando.   O,  sir,  very  well :  here  in  your  orchard. 

Oliver.    Know  you  before  whom,  sir?  38 

Orlando.  Ay,  better  than  him  I  am  before  knows  me. 
I  know  you  are  my  eldest  brother ;  and,  in  the  gentle  con- 
dition of  blood,  you  should  so  know  me.    The  courtesy  of 

26.  what  make  you :  what  are  you  doing  ?  Orlando  plays  on  the 
word  '  make  '  in  the  sense  of  '  produce.' 

29.  Marry,  which  here  keeps  up  the  word-play,  was  frequently 
used  in  colloquial  language  as  a  petty  oath  or  intensive;  something 
like  the  Latin  he7-cle  and  edepol.  This  use  of  '  marry'  sprang  from  a 
custom  of  swearing  by  St.  Mary  the  Virgin. 

31-32.  be  naught  awhile.  'Be  naught,'  or  'go  and  be  naught,' 
was  formerly  a  petty  execration  between  anger  and  contempt,  which 
has  been  supplanted  by  others,  as  'be  hanged,'  'be  cursed,'  etc.; 
'  awhile,'  or  '  the  while,'  was  added  merely  to  round  the  phrase. 

34.  prodigal.  Here  used  proleptically.  Shakespeare  makes  many 
allusions  to  the  parable  of  the  Prodigal  Son.  In  previous  editions 
of  Hudson's  Shakespeare,  Seymour's  emendation,  "  What  prodigal's 
portion,"  was  adopted. 

40-41.  in  the  gentle  condition  of  blood :  as  becomes  brothers  of 
gentle  birth  and  breeding. 


6  THE  NEW  HUDSON   SHAKESPEARE     act  I 

nations  allows  you  my  better,  in  that  you  are  the  first-born  ; 
but  the  same  tradition  takes  not  away  my  blood,  were  there 
twenty  brothers  betwixt  us  :  I  have  as  much  of  my  father 
in  me  as  you ;  albeit,  I  confess,  your  coming  before  me  is 
nearer  to  his  reverence.  46 

Oliver.    What,  boy  ! 

Orlando.  Come,  come,  elder  brother,  you  are  too 
young  in  this. 

Oliver.    Wilt  thou  lay  hands  on  me,  villain  ?  50 

Orlando.  I  am  no  villain ;  I  am  the  youngest  son  of 
Sir  Rowland  de  Boys ;  he  was  my  father ;  and  he  is  thrice 
a  villain  that  says  such  a  father  begot  villains.  Wert  thou 
not  my  brother,  I  would  not  take  this  hand  from  thy  throat 
till  this  other  had  puU'd  out  thy  tongue  for  saying  so  :  thou 
hast  rail'd  on  thyself.  56 

Adam.  Sweet  masters,  be  patient:  for  your  father's  remem- 
brance, be  at  accord. 

Oliver.    Let  me  go,  I  say.  59 

Orlando.  I  will  not,  till  I  please  :  you  shall  hear  me. 
My  father  charg'd  you  in  his  will  to  give  me  good  educa- 
tion :  you  have  train'd  me  like  a  peasant,  obscuring  and 

52.  Boys  Fi  I  Boyes  F2F3F4.  57.  masters  Fi  |  master  F2F3F4. 

46.  Nearer  to  him  in  the  right  of  that  reverence  which  was  his  due. 

47.  "  The  word  '  boy  '  naturally  provokes  and  awakens  in  Orlando 
the  sense  of  his  manly  powers ;  and  with  the  retort  of  '  elder '  brother, 
he  grasps  him  with  firm  hands,  and  makes  him  feel  he  is  no  boy." 
—  Coleridge.  So  in  Lodge's  story:  "Though  I  am  eldest  by  birth, 
yet,  never  having  attempted  any  deedes  of  Armes,  I  am  yongest  to 
performe  any  martial  exploytes." 

50.  villain.  As  Johnson  suggested,  while  Oliver  uses  the  word 
in  its  modern  sense  of  '  scoundrel,'  Orlando  probably  takes  it  in  its 
original  meaning  of  '  one  lowborn.' 


SCENE  I  AS   YOU    LIKE   IT  7 

hiding  from  me  all  gentleman-like  qualities.  The  spirit  of 
my  father  grows  strong  in  me,  and  I  will  no  longer  endure 
it :  therefore  allow  me  such  exercises  as  may  become  a 
gentleman,  or  give  me  the  poor  allottery  my  father  left  me 
by  testament;  with  that  I  will  go  buy  my  fortunes.  67 

Oliver.  And  what  wilt  thou  do?  beg,  when  that  is  spent? 
Well,  sir,  get  you  in  :  I  will  not  long  be  troubled  with  you; 
you  shall  have  some  part  of  your  will :  I  pray  you,  leave  me. 

Orlando.  I  will  no  further  offend  you  than  becomes 
me  for  my  good.  72 

Oliver.    Get  you  with  him,  you  old  dog  ! 

Adam.  Is  'old  dog'  my  reward?  Most  true,  I  have  lost 
my  teeth  in  your  service.  —  God  be  with  my  old  master  ! 
he  would  not  have  spoke  such  a  word.  76 

\_Exeunt  Orlando  and  Adam] 

Oliver.  Is  it  even  so  ?  begin  you  to  grow  upon  me?  I 
will  physic  your  rankness,  and  yet  give  no  thousand  crowns 
neither.  —  Holla,  Dennis  !  79 

Enter  Dennis 

Dennis.    Calls  your  worship? 

Oliver.  Was  not  Charles,  the  Duke's  wrestler,  here  to 
speak  with  me?  82 

77.  Scene  III  Pope.  larly  elsewhere  Ff  read  '  wrastling,' 
81.  wrestler  |  wrastler   Fi  (simi-       '  wrastle,' '  wrastled ') . 

63.  qualities  :  occupations,  pursuits.    Thus  the  word  accords  with 
'  exercises  '  in  1.  65.    Cf.  The  Two  Gentlemen  of  Verona,  IV,  i,  58 : 
a  man  of  such  perfection, 
As  we  do  in  our  quaUty  much  want. 

66.  allottery :  allotted  share.    Occurs  nowhere  else  in  Shakespeare. 

78.  physic  your  rankness :  heal  your  overgrowth.  Oliver's  thought 
is  that  Orlando  is  growing  too  big  for  his  station,  and  so  needs  to  be 
taken  down.    Shakespeare  repeatedly  uses  '  to  physic '  for  '  to  heal.' 


8  THE   NEW  HUDSON    SHAKESPEARE      act  i 

Dennis.  So  please  you,  he  is  here  at  the  door,  and 
importunes  access  to  you, 

Oliver,  Call  him  in,  \_Exit  Dennis]  'T  will  be  a  good 
way  ;  and  to-morrow  the  wrestling  is.  86 

Enter  Charles 

Charles.    Good  morrow  to  your  worship. 

Oliver.  Good  Monsieur  Charles,  what 's  the  new  news 
at  the  new  court?  89 

Charles.  There  's  no  news  at  the  court,  sir,  but  the  old 
news  :  that  is,  the  old  Duke  is  banish'd  by  his  younger 
brother  the  new  Duke  ;  and  three  or  four  loving  lords  have 
put  themselves  into  voluntary  exile  with  him,  whose  lands 
and  revenues  enrich  the  new  Duke;  therefore  he  gives 
them  good  leave  to  wander.  95 

Oliver.  Can  you  tell  if  Rosalind,  the  Duke's  daughter, 
be  banish'd  with  her  father?  97 

Charles.  O,  no  ;  for  the  Duke's  daughter,  her  cousin,  so 
loves  her,  being  ever  from  their  cradles  bred  together,  that 
she  would  have  follow'd  her  exile,  or  have  died  to  stay 

93.  into  F1F2  I  into  a  F3F4.  98.  the  Duke's  |  the  new  Duke's 

96.  the  Duke's  |  the  old  Duke's       Hanmer. 
Hanmer.  loo.  she  F3F4  I  hee  Fi  1  he  F2. 

88.  Good  Monsieur  Charles.  In  previous  editions  of  Hudson's 
Shakespeare  Walker's  conjectural  '  morrow '  was  inserted  before 
'  Monsieur,'  but  the  expression  in  the  text  is  a  common  salutation. 

90.  Lettsom  suggested  the  insertion  of  'new'  before  'court,'  and 
this  reading  was  adopted  in  previous  editions  of  Hudson's  Shake- 
speare ;  as  also  were  the  Hanmer  emendations  in  11.  96,  98. 

100.  to  stay.  This  is  an  instance  of  the  infinitive  used  gerun- 
dively,  or  like  the  Latin  gerund,  and  so  the  expression  is  equivalent  to 
'  by  staying '  or  '  from  staying.'  The  usage  is  frequent  in  Shakespeare, 
and  sometimes  makes  his  meaning  obscure.    See  Abbott,  §  356. 


SCENE  I  AS  YOU    LIKE   IT  9 

behind  her.  She  is  at  the  court,  and  no  less  belov'd  of  her 
uncle  than  his  own  daughter ;  and  never  two  ladies  lov'd 
as  they  do. 

Oliver.    Where  will  the  old  Duke  live?  104 

Charles.  They  say  he  is  already  in  the  forest  of  Arden, 
and  a  many  merry  men  with  him ;  and  there  they  live  like 
the  old  Robin  Hood  of  England  :  they  say,  many  young 
gentlemen  flock  to  him  every  day,  and  fleet  the  time  care- 
lessly, as  they  did  in  the  golden  world.  109 
Oliver.  What,  you  wrestle  to-morrow  before  the  new  Duke  ? 

105.  forest  of  Arden.  While  Shakespeare  took  the  name  '  Arden  ' 
from  Lodge,  who  undoubtedly  meant  the  forest  of  Ardennes  in 
French  Flanders,  it  is  an  interesting  fact  that  there  was  a  forest  of 
Arden  in  Warwickshire,  referred  to  twice  by  Drayton  as  the  haunt 
of  nightingales.  Arden,  too,  is  the  family  name  of  Shakespeare's 
mother. 

106.  a  many.     See  Abbott,  §  87.    Cf.  Henry  V,  IV,  i,  127. 

107.  old  Robin  Hood.  This  prince  of  outlaws  and  "  most  gentle 
theefe"  had  his  chief  residence,  according  to  popular  song  and 
story,  in  Sherwood  Forest,  Nottinghamshire.  His  character  and 
mode  of  life  are  well  described  in  Scott's  Ivanhoe.  Wordsworth 
aptly  styles  him  "  the  English  ballad-singer's  joy."  Upwards  of  forty 
ballads  make  up  the  Robin  Hood  cycle,  eight  of  them  of  the  finest 
quality  of  ballad  poetry.  In  the  Polyolbion  of  Drayton  occurs  this 
interesting  reference  to  Robin  Hood : 

In  this  our  spacious  Isle,  I  think  there  is  not  one 

But  he  of  Robin  Hood  hath  heard,  and  Little  John; 

And  to  the  end  of  time  the  tales  shall  ne'er  be  done 

Of  Scarlock,  George  a  Green,  and  Mudge,  the  miller's  son, 

Of  Tuck,  the  merry  friar,  which  many  a  sermon  made 

In  praise  of  Robin  Hood,  his  outlaws,  and  their  trade. 

108-109.  carelessly:  free  from  care. 

109.  the  golden  world.  Of  this  fabled  golden  age,  —  an  ancient 
and  very  general  tradition  wherein  the  state  of  man  in  Paradise 
appears  to  have  been  shadowed,  —  some  notion  is  given  in  Gonzalo's 
commonwealth.  The  Tempest,  II,  i. 


lO  THE  NEW  HUDSON  SHAKESPEARE     act  i 

Charles.  Marry,  do  I,  sir ;  and  I  came  to  acquaint  you 
with  a  matter.  I  am  given,  sir,  secretly  to  understand  tliat 
your  younger  brother,  Orlando,  hath  a  disposition  to  come 
in  disguis'd  against  me  to  try  a  fall.  To-morrow,  sir,  I 
wrestle  for  my  credit ;  and  he  that  escapes  me  without 
some  broken  limb  shall  acquit  him  well.  Your  brother  is 
but  young  and  tender ;  and,  for  your  love,  I  would  be  loth 
to  foil  him,  as  I  must,  for  my  own  honour,  if  he  come  in  : 
therefore,  out  of  my  love  to  you,  I  came  hither  to  acquaint 
you  withal ;  that  either  you  might  stay  him  from  his  intend- 
ment, or  brook  such  disgrace  well  as  he  shall  run  into,  in  that 
it  is  a  thing  of  his  own  search,  and  altogether  against  my  will. 

Oliver.  Charles,  I  thank  thee  for  thy  love  to  me,  which 
thou  shalt  find  I  will  most  kindly  requite.  I  had  myself 
notice  of  my  brother's  purpose  herein,  and  have  by  under- 
hand means  labour'd  to  dissuade  him  from  it ;  but  he  is 
resolute.  I  '11  tell  thee,  Charles,  it  is  the  stubbornest  young 
fellow  of  France ;  full  of  ambition,  an  envious  emulator  of 
every  man's  good  parts,  a  secret  and  villaihous  contriver 
against  me  his  natural  brother  :  therefore  use  thy  discre- 
tion ;  I  had  as  lief  thou  didst  break  his  neck  as  his  finger. 
And  thou  wert  best  look  to  't ;  for  if  thou  dost  him  any  slight 
disgrace,  or  if  he  do  not  mightily  grace  himself  on  thee,  he 
will  practise  against  thee  by  poison,  entrap  thee  by  some 
treacherous  device,  and  never  leave  thee  till  he  hath  ta'en 
thy  life  by  some  indirect  means  or  other ;  for,  I  assure  thee, 

n6.  shall  acquit  him  :  must  acquit  himself.  '  Shall '  here  retains 
the  notion  of  compulsion.     See  Abbott,  §  315. 

120.  withal:  with  it.    See  Abbott,  §  196. 

125-126.   underhand :  indirect,  secret. 

133.  grace  himself  on  thee:  get  himself  honor  or  reputation  at 
your  expense.    Cf.  V,  ii,  54  ;  I/cury  I',  III,  vi,  71. 


SCENE  I  AS   YOU    LIKE    IT  II 

and  almost  with  tears  I  speak  it,  there  is  not  one  so  young 
and  so  villainous  this  day  living.  I  speak  but  brotherly  of 
him  ;  but,  should  I  anatomize  him  to  thee  as  he  is,  I  must 
blush  and  weep,  and  thou  must  look  pale  and  wonder.      140 

Charles.  I  am  heartily  glad  I  came  hither  to  you.  If  he 
come  to-morrow,  I  '11  give  him  his  payment :  if  ever  he  go 
alone  again,  1  '11  never  wrestle  for  prize  more  :  and  so,  God 
keep  your  worship  !  144 

Oliver.  Farewell,  good  Charles.  \_Exit  Charles]  — 
Now  will  I  stir  this  gamester  :  I  hope  I  shall  see  an  end  of 
him ;  for  my  soul,  yet  I  know  not  why,  hates  nothing  more 
than  he.  Yet  he  's  gentle  ;  never  school'd,  and  yet  learn'd  ; 
full  of  noble  device  ;  of  all  sorts  enchantingly  belov'd  ;  and 
indeed  so  much  in  the  heart  of  the  world,  and  especially  of 
my  own  people,  who  best  know  him,  that  I  am  altogether 
mispris'd.  But  it  shall  not  be  so  long;  this  wrestler  shall 
clear  all :  nothing  remains  but  that  I  kindle  the  boy 
thither ;  which  now  I  '11  go  about.  \_Exit\ 

139.  anatomize  F3F4  I  anathomize  F1F2.        145.  Oliver  1  omitted  in  Fi. 

139.  anatomize.  As  the  word  is  here  used,  it  means  'unfold,'  'explain,' 
or  'expose  a  thing  thoroughly.'  The  word  'anatomy'  was  often  so 
used.    Burton's  Anatomy  of  Alelancholy  is  a  capital  instance  in  point. 

142.  payment:  punishment.    Still  used  colloquially  in  this  sense. 

146.  gamester.  Not  necessarily  a  gambler,  but  a  sporting  character, 
or  one  sowing  his  wild  oats.  Here  the  word  undoubtedly  connotes 
the  idea  of  Orlando's  desire  to  enter  the  wrestling  match. 

148-149.  "  In  a  copy  of  the  Fourth  Folio  which  formerly  belonged 
to  Steevens,  he  has  marked  these  lines  as  descriptive  of  Shake- 
speare himself." — Clar. —  gentle:  well-born. —  of  noble  device:  of 
worthy  plans.    For  the  various  meanings  of  '  device,'  see  Century. 

152.  mispris'd:  underestimated.  So  in  ii,  162.  Cf. '  misprision,' in 
Sonnets,  Lxxxvii,  11 :  "So  thy  great  gift,  upon  misprision  growing." 

153.  kindle:  incite.    Ci.  Macbeth,  I,  iii,  121. 


12  THE  NEW  HUDSON   SHAKESPEARE      act  J 

Scene  II.    Lawn  before  the  T)\5k.¥.^s  palace 
Enter  Rosalind  afid  Celia 

Celu.    I  pray  thee,  Rosalind,  sweet  ray  coz,  be  merry. 

Rosalind,  Dear  Celia,  I  show  more  mirth  than  I  am 
mistress  of  ;  and  would  you  yet  I  were  merrier?  Unless  you 
could  teach  me  to  forget  a  banish'd  father,  you  must  not 
learn  me  how  to  remember  any  extraordinary  pleasure.      5 

Celia.  Herein  I  see  thou  lov'st  me  not  with  the  full 
weight  that  I  love  thee.  If  my  uncle,  thy  banish'd  father, 
had  banish'd  thy  uncle,  the  Duke  my  father,  so  thou  hadst 
been  still  with  me,  I  could  have  taught  my  love  to  take  thy 
father  for  mine  :  so  wouldst  thou,  if  the  truth  of  thy  love  to 
me  were  so  righteously  temper'd  as  mine  is  to  thee.  n 

Rosalind.  Well,  I  will  forget  the  condition  of  my  estate, 
to  rejoice  in  yours.  13 

Celia.  You  know  my  father  hath  no  child  but  I,  nor 
none  is  like  to  have  :  and,  truly,  when  he  dies,  thou  shalt 
be  his  heir ;  for  what  he  hath  taken  away  from  thy  father 
perforce,  I  will  render  thee  again  in  affection ;  by  mine 
honour,  I  will ;  and  when  I  break  that  oath,  let  me  turn 
monster  :  therefore,  my  sweet  Rose,  my  dear  Rose,  be  merry. 

Scene  II I  Scene  IV  Pope.  3.  yet  I  were  Rowe  |  yet  were  Ff. 

Celia  |  Cellia  Fi.  5.  any  Fi  |  my  F3F4. 

I.  sweet  my  coz  :  my  sweet  cousin.    See  Abbott,  §  13. 

5.  learn:  teach.  This  usage,  still  prevalent  in  Scotland  and  in 
New  England,  was  common  in  Elizabethan  and  in  Middle  English, 
e.g.  in  the  Miles  Coverdale  version  of  the  Psalms,  preserved  with 
few  changes  in  the  Book  of  Common  Prayer.  Cf.  Tennyson's  "  leam'd 
me  Magic"  in  Alerlhi  and  the  Gleam. 

14.  but  I.   See  Abbott,  §  209.  —  14-15-  nor  none.   See  Abbott,  §  406. 


SCENE  II  AS  YOU    LIKE   IT  13 

RosAWND.  From  henceforth  I  will,  coz,  and  devise  sports. 
Let  me  see  ;  what  think  you  of  falling  in  love?  21 

Celia.  Marry,  I  prithee,  do,  to  make  sport  withal :  but 
love  no  man  in  good  earnest;  nor  no  further  in  sport 
neither  than  with  safety  of  a  pure  blush  thou  mayst  in 
honour  come  off  again.  25 

Rosalind.    What  shall  be  our  sport,  then? 

Celia.  Let  us  sit  and  mock  the  good  housewife  Fortune 
from  her  wheel,  that  her  gifts  may  henceforth  be  bestow'd 
equally.  29 

Rosalind.  I  would  we  could  do  so  ;  for  her  benefits  are 
mightily  misplac'd ;  and  the  bountiful  blind  woman  doth 
most  mistake  in  her  gifts  to  women.  32 

Celia.  'T  is  true ;  for  those  that  she  makes  fair  she 
scarce  makes  honest ;  and  those  that  she  makes  honest, 
she  makes  very  ill-favouredly.  35 

Rosalind.  Nay,  now  thou  goest  from  Fortune's  office  to 
Nature's :  Fortune  rei^s  in  gifts  of  the  world,  not  in  the 
lineaments  of  Nature.  38 

Enter  Touchstone 

Celia.  No  ?  when  Nature  hath  made  a  fair  creature,  may 
she  not  by  Fortune  fall  into  the  fire?    Though  Nature  hath 

39.  Enter  Touchstone  |  Enter  39.  No?  Hanmer  |  No!  Theobald 

Clowne  Ff.  |  No  ;  Ff . 

27.  Drive  the  good  dame  Fortune  from  her  wheel  with  gibes  and 
flouts.    Cf.  Antony  and  Cleopatra,  IV,  xv,  44;  Henry  V,  III,  vi,  35. 

34.  honest :  virtuous.    So  in  III,  iii,  26,  and  elsewhere. 

35.  In  previous  editions  of  Hudson's  Shakespeare,  Rowe's  emen- 
dation, 'ill-favoured,'  was  adopted;  but  the  adverb  expressing  state 
or  condition  has  here,  as  often  in  Shakespeare,  the  force  of  an 
adjective.    In  IV,  iii,  86,  '  favour '  refers  to  personal  appearance. 


14  THE   NEW  HUDSON  SHAKESPEARE      act  i 

given  us  wit  to  flout  at  Fortune,  hath  not  Fortune  sent  in 
this  fool  to  cut  off  the  argument  ?  42 

Rosalind.  Indeed,  there  is  Fortune  too  hard  for  Na- 
ture, when  Fortune  makes  Nature's  natural  the  cutter-off 
of  Nature's  wit.  45 

Celia.  Perad venture  this  is  not  Fortune's  work  neither, 
but  Nature's;  who  perceiveth  our  natural  wits  too  dull  to 
reason  of  such  goddesses,  hath  sent  this  natural  for  our 
whetstone ;  for  always  the  dulness  of  the  fool  is  the  whet- 
stone of  the  wits.  —  How  now,  wit  !  whither  wander  you  ? 

Touchstone.  M  istress,  you  must  come  away  to  your  father. 

Celia.   Were  you  made  the  messenger?  52 

Touchstone.  No,  by  mine  honour ;  but  I  was  bid  to 
come  for  you. 

Rosalind.    Where  learn'd  you  that  oath,  fool?  55 

Touchstone.  Of  a  certain  knight  that  swore  by  his 
honour  they  were  good  pancakes,  and  swore  by  his  honour 
the  mustard  was  naught :  now  I  '11  stand  to  it,  the  pancakes 
were  naught,  and  the  mustard  was  good ;  and  yet  was  not 
the  knight  forsworn.  60 

Celia.  How  prove  you  that,  in  the  great  heap  of  your 
knowledge  ? 

Rosalind.    Ay,  marry,  now  unmuzzle  your  wisdom. 

43.  there  is  Fortune  FiFj  |  For-  48.  hath  sent  Ff  |  and  hath  sent 

tune  is  there  FaF^.  Malone  Camb. 

47.  perceiveth  Fi  |  perceiving  F2  50.  whither  F2  I  whether  Fi. 

F3F4.  63.  your  Fi  |  you  F2. 

48.  Four  times  Shakespeare  uses  'natural' in  the  sense  of  'idiot': 
The  Tempest,  III,  ii,  37  ;  Romeo  and  Juliet,  II,  iv,  96,  and  in  the  two 
passages  in  this  scene.  The  word  is  still  used  in  the  same  way  in  Scot- 
land. Cf.  the  Elizabethan  use  of  the  noun  '  innocent.'  The  applica- 
tion of  '  fool '  to  the  professional  clown  gave  rise  to  many  quibbles. 


SCENE  II  AS  YOU   LIKE   IT  15 

Touchstone.  Stand  you  both  forth  now :  stroke  your 
chins,  and  swear  by  your  beards  that  I  am  a  knave.  65 

Celia.    By  our  beards,  if  we  had  them,  thou  art. 

Touchstone.  By  my  knavery,  if  I  had  it,  then  I  were ; 
but,  if  you  swear  by  that  that  is  not,  you  are  not  forsworn  : 
no  more  was  this  knight,  swearing  by  his  honour,  for  he 
never  had  any ;  or  if  he  had,  he  had  sworn  it  away  before 
ever  he  saw  those  pancakes  or  that  mustard.  71 

Celia.    Prithee,  who  is 't  that  thou  mean'st? 

Touchstone.    One  that  old  Frederick,  your  father,  loves. 

Celia.  My  father's  love  is  enough  to  honour  him  enough  : 
speak  no  more  of  him ;  you  '11  be  whipp'd  for  taxation  one 
of  these  days.  76 

Touchstone.  The  more  pity,  that  fools  may  not  speak 
wisely  what  wise  men  do  foolishly. 

74.  Celia  Theobald  |  Rosa-  honour  him:  enough!  Hanmer. 
lind  Ff.  78.  wise    men    F3F4  I   wisemen 

74.  honour    him    enough     Ff   |         F1F2. 

73.  old.  This,  like  '  Mistress '  in  1.  51,  is  merely  a  term  of  familiar- 
ity, such  as  jesters  were  privileged  to  use  to  all  sorts  of  people. 

74.  The  Folios  give  this  speech  to  Rosalind,  but  as  it  was  Celia's 
father  whose  name  was  Frederick  (V,  iv,  148),  Theobald  conjectured 
that  the  speech  should  be  given  to  her,  unless  '  Frederick '  be  changed 
to  another  name.    Capell  proposed  the  substitution  of  '  Ferdinand.' 

75.  taxation:  censure,  satire.  Cf.  'tax,'  II,  vii,  71;  'taxing,'  II, 
vii,  86.  '  To  tax,'  from  Lat.  taxare  {tangere)  through  Old  Fr.  taxer, 
passes  naturally  from  the  meaning  '  to  assess  '  or  '  to  task,'  to  that 
of  '  to  take  to  task,'  '  to  censure,'  '  to  satirize.'  '  Task '  is  etymo- 
logically  the  same  word.  It  was  the  custom  to  whip  professional 
jesters  when  they  used  their  tongues  too  freely. 

78.  wise  men.  "  There  can  be  no  doubt  that  the  words  '  wise  men,' 
here  printed  as  two  in  obedience  to  modern  usage,  were  frequently 
in  Shakespeare's  time  written  and  pronounced  as  one  word,  with  the 
accent  on  the  first  syllable,  as  '  madman  '  is  still."  —  Camb. 


l6  THE   NEW  HUDSON   SHAKESPEARE      act  i 

Celia.  By  my  troth,  thou  sayest  true ;  for  since  the 
little  wit  that  fools  have  was  silenc'd,  the  little  foolery  that 
wise  men  have  makes  a  great  show.  Here  comes  Monsieur 
Le  Beau.  82 

Rosalind.    With  his  mouth  full  of  news. 

Celia.  Which  he  will  put  on  us,  as  pigeons  feed  their 
young. 

Rosalind.   Then  shall  we  be  news-cramm'd.  86 

Celia.    All  the  better ;  we  shall  be  the  more  marketable. — 

Enter  Le  Beau 

Bon  jour,  Monsieur  Le  Beau  :  what 's  the  news? 

Le  Beau.   Fair  princess,  you  have  lost  much  good  sport. 
Celia.    Sport !  of  what  colour?  90 

Le  Beau.   What  colour,  madam  !  how  shall  I  answer  you? 
Rosalind.   As  wit  and  fortune  will. 
Touchstone.    Or  as  the  Destinies  decrees. 
Celia.    Well  said  :   that  was  laid  on  with  a  trowel. 

82.  Le  Beau  Steevens  |  the  Beu  88.  Bon  |  Boon  Ff.  —  what 's  the 
Fi  I  Le  Beu  F'.!F3F4.  —  Fi  has  here        Fi  |  what  the  F2  I  what  F3F4. 

'  Enter  Le  Beau.'  89.  Two  lines  in  Fi. 

83.  Scene  V  Pope. 

80.  Fleay  suggests  that  this  may  have  reference  to  the  burning  of 
satirical  books  by  public  authority,  June  i,  1599. 

90.  Celia  glances,  apparently,  at  Le  Beau's  affected  or  dandified 
pronunciation  of  'sport,'  he  having  got  it  nearer  to  'spot'  than  to 
'sport.'  But  'colour'  may  mean  'kind,'  as  in  III,  ii,  385.  Cf.  King 
Lear,  II,  ii,  145  :  "a  fellow  of  the  self-same  colour." 

93.  Destinies  decrees.  Pope's  emendation  was  'decree,'  adopted 
in  previous  editions  of  Hudson's  Shakespeare.  For  grammatical  con- 
struction, see  Abbott,  §  333.  The  Destinies  shape  the  speech  of 
those  who  have  not  sense  enough  to  shape  it  for  themselves. 

94.  laid  on  with  a  trowel.  '  To  lay  on  with  a  trowel '  is  a  prover- 
bial phrase,  meaning  to  do  anything  lavishly  or  without  delicacy. 


SCENE  II  AS  YOU    LIKE   IT  17 

Touchstone.    Nay,  if  I  keep  not  my  rank,  —  95 

Rosalind.   Thou  losest  thy  old  smell. 

Le  Beau.  You  amaze  me,  ladies  :  I  would  have  told  you 
of  good  wrestling,  which  you  have  lost  the  sight  of. 

Rosalind.    Yet  tell  us  the  manner  of  the  wrestling.        99 

Le  Beau.  I  will  tell  you  the  beginning ;  and,  if  it  please 
your  ladyships,  you  may  see  the  end  ;  for  the  best  is  yet  to 
do  ;  and  here,  where  you  are,  they  are  coming  to  perform  it. 

Celia.    Well,  —  the  beginning,  that  is  dead  and  buried. 

Le  Beau.   There  comes  an  old  man  and  his  three  sons, — 

Celia.    I  could  match  this  beginning  with  an  old  tale. 

Le  Beau.  Three  proper  young  men,  of  excellent  growth 
and  presence.  107 

Rosalind.  With  bills  on  their  necks,  '  Be  it  known  unto 
all  men  by  these  presents.'  109 

Le  Beau.  The  eldest  of  the  three  wrestled  with  Charles, 
the  Duke's  wrestler ;  which  Charles  in  a  moment  threw 
him,  and  broke  three  of  his  ribs,  that  there  is  httle  hope  of 
life  in  him  :  so  he  serv'd  the  second,  and  so  the  third. 
Yonder  they  lie ;  the  poor  old  man,  their  father,  making 

95.  losest  F4 1  loosest  F1F2F8. 

106.  proper :  Comely.    So  in  sixteenth  century  literature  very  often. 

108.  With  bills  on  their  necks.  In  previous  editions  of  Hudson's 
Shakespeare  these  words  were  given  to  Le  Beau.  This  was  Farmer's 
emendation,  and  it  has  been  defended  as  giving  additional  point  and 
piquancy  to  the  pun  on  '  bills,'  and  balancing  more  evenly  the  quibble 
on  '  presence  '  and  'presents.'  'Bills'  were  instruments  or  weapons 
used  by  watchmen  and  foresters.  Watchmen  were  said  to  carry 
their  bills  or  halberds  on  their  necks,  not  on  their  shoulders.  For 
example,  in  Lodge's  Rosalynde,  Rosader  is  described  as  "  pacing  .  .  . 
with  his  forest-bill  on  his  neck."  The  usual  preamble  of  legal  'bills,' 
or  public  notices,  is  "  Be  it  known  unto  all  men  by  these  presents," 
a  translation  of  Noverint  unrversi  per  praesentes. 


I8  THE   NEW  HUDSON   SHAKESPEARE      act  i 

such  pitiful  dole  over  them,  that  all  the  beholders  take  his 
part  with  weeping.  ii6 

Rosalind.    Alas  ! 

Touchstone.  But  what  is  the  sport,  monsieur,  that  the 
ladies  have  lost? 

Le  Beau.    Why,  this  that  I  speak  of.  120 

Touchstone.  Thus  men  may  grow  wiser  every  day  :  it 
is  the  first  time  that  ever  I  heard  breaking  of  ribs  was 
sport  for  ladies. 

Celia.    Or  I,  I  promise  thee.  124 

Rosalind.  But  is  there  any  else  longs  to  see  this  broken 
music  in  his  sides?  is  there  yet  another  dotes  upon  rib- 
breaking? —  Shall  we  see  this  wrestling,  cousin?  127 

Le  Beau.  You  must,  if  you  stay  here  ;  fot  here  is  the  place 
appointed  for  the  wrestling,  and  they  are  ready  to  perform  it. 

Celia.  Yonder,  sure,  they  are  coming :  let  us  now  stay 
and  see  it.  131 

125.  see  Ff  I  set  Theobald  |  feel  Dyce.         129.  for  the  Fi  |  for  F-2F3F4. 

125.  see.  " '  See '  is  the  colloquial  term  for  perception  or  experi- 
ment."—  Johnson.  — 125-126.  broken  music.  Chappell,  in  his  Popular 
Music  0/  the  Olden  Time,  says  this  phrase  means  "  what  we  now  term 
a  string  band."  His  later  explanation,  given  to  Dr.  W.  A.  Wright,  is  : 
"  Some  instruments,  such  as  viols,  violins,  flutes,  etc.,  were  formerly 
made  in  sets  of  four,  which  when  played  together  formed  a  '  consort.' 
If  one  or  more  of  the  instruments  of  one  set  were  substituted  for  the 
corresponding  ones  of  another  set,  the  result  was  no  longer  a  '  con- 
sort,' but  'broken  music.'"  The  expression  occurs  in  Henry  V,  V, 
ii,  263  :  "  Come,  your  answer  in  broken  music  ;  for  thy  voice  is  music 
and  thy  English  broken."  And  Bacon,  Essays,  XXXVII,  Of  Masques 
atid  Triumphs  :  "  I  understand  it,  that  the  Song  be  in  Quire,  placed 
aloft,  and  accompanied  with  some  broken  Musicke."  The  implied 
comparison  of  'broken  ribs'  to  'broken  music'  appears  to  be  but  a 
whimsical  fancy,  with  no  link  of  connection  but  a  verbal  one  sug- 
gested by  '  broken.' 


SCENE  II  AS  YOU    LIKE    IT  19 

Flourish.    Enter  Duke  Frederick,  Lords,  Orlando, 
Charles,  and  Attendants 

Duke  Frederick.  Come  on  :  since  the  youth  will  not 
be  entreated,  his  own  peril  on  his  forwardness. 

Rosalind.    Is  yonder  the  man? 

Le  Beau.    Even  he,  madam.  135 

Celia.    Alas,  he  is  too  young  !  yet  he  looks  successfully. 

Duke  Frederick.  How  now,  daughter,  and  cousin  !  are 
you  crept  hither  to  see  the  wrestling? 

Rosalind.    Ay,  my  liege,  so  please  you  give  us  leave.  139 

Duke  Frederick.  You  will  take  little  delight  in  it,  I 
can  tell  you,  there  is  such  odds  in  the  man.  In  pity  of  the 
challenger's  youth,  I  would  fain  dissuade  him,  but  he  will 
not  be  entreated.  Speak  to  him,  ladies;  see  if  you  can 
move  him.  144 

Celia.    Call  him  hither,  good  Monsieur  Le  Beau. 

Duke  Frederick.    Do  so :  I  '11  not  be  by. 

132.  Scene  VI  Pope.  141.  man  Ff  |  men  Hanmer. 

133.  be  entreated  :  yield  to  entreaty,  be  persuaded. 

136.  looks  successfully :  has  the  appearance  of  one  likely  to  suc- 
ceed. Here,  as  in  1.  35,  the  adverb  expressing  state  or  condition  has 
the  force  of  an  adjective.    Cf.  The  Tempest,  III,  i,  32. 

137.  cousin.  This  word  was  used  indifferently  of  nephews,  nieces, 
and  grandchildren,  as  well  as  for  what  we  mean  by  the  term.  Shake- 
speare is  full  of  instances  in  point.    Rosalind  is  niece  to  Frederick. 

141.  Hanmer  substituted 'men' for  the  Folio  reading  'man.'  But 
there  is  no  necessity  for  such  a  change,  as  'odds'  in  Elizabethan 
literature  often  means  '  superiority.'  Cf.  Love's  Labour  'j  Lost,  I,  ii, 
183:  ".  .  .  too  much  odds  for  a  Spaniard's  rapier."  So  in  Sylvester's 
translation  of  Du  Bartas  : 

No  (silly  lad),  no,  wert  thou  of  the  Gods, 
I  would  not  fight  at  so  unknightly  odds. 


20  THE   NEW  HUDSON    SHAKESPEARE      ACT  l 

Le  Beau.  Monsieur  the  challenger,  the  princess  calls  for 
you. 

Orlando.    I  attend  them  with  all  respect  and  duty.     149 

Rosalind.  Young  man,  have  you  challeng'd  Charles  the 
wrestler? 

Orlando.  No,  fair  princess  ;  he  is  the  general  challenger  : 
I  come  but  in,  as  others  do,  to  try  with  him  the  strength  of 
my  youth.  i54 

Celia.  Young  gentleman,  your  spirits  are  too  bold  for  your 
years.  You  have  seen  cruel  proof  of  this  man's  strength  :  if 
you  saw  yourself  with  your  eyes,  or  knew  yourself  with  your 
judgment,  the  fear  of  your  adventure  would  counsel  you  to 
a  more  equal  enterprise.  We  pray  you,  for  your  own  sake, 
to  embrace  your  own  safety,  and  give  over  this  attempt.  160 

Rosalind.  Do,  young  sir ;  your  reputation  shall  not 
therefore  be  mispris'd  :  we  will  make  it  our  suit  to  the 
Duke  that  the  wrestling  might  not  go  forward.  163 

147.  princess  calls  F4  |  Princesse  149.  them  Ff  I  her  Rowe. 

cals  Fi  I  Princesse  calls  F2F3  I  prin-  157-158.  your  eyes  . .  .  your  judg- 

cesses  call  Theobald  |  princess'  call  ment  Ff  I  our  eyes  . . .  our  judgment 

Dyce.  Hanmer. 

147.  Most  of  the  textual  variations  arise  from  Orlando's  answer, 
"  I  attend  them.  .  . "  But  while  Celia  alone  has  expressly  called  for 
him,  she  is  clearly  speaking  both  for  Rosalind  and  for  herself. 

1517-158.  In  previous  editions  of  Hudson's  Shakespeare,  Hanmer's 
emendation,  "our  eyes  .  .  .  our  judgment,"  was  adopted  as  one  of 
many  instances  of  words  repeated  by  mistake  from  contextual  near- 
ness. The  best  defense  of  the  Folio  reading  is  Heath's  paraphrase 
of  the  line :  "  If  you  would  give  credit  to  the  faithful  report  of  your 
own  eyes,  and  to  the  cool  dictates  of  your  judgment,  rather  than 
suffer  yourself  to  be  seduced  by  the  bold  spirits  of  your  youth." 

162.  So,  in  the  first  scene,  Oliver,  muttering  to  himself  of  his 
brother's  popularity,  shows  his  envy  by  saying,  "I  am  altogether 
mispris'd." 


SCENE  II  AS  YOU    LIKE    IT  21 

Orlando.  I  beseech  you,  punish  me  not  with  your  hard 
thoughts;  wherein  I  confess  me  much  guilty,  to  deny  so 
fair  and  excellent  ladies  any  thing  :  but  let  your  fair  eyes 
and  gentle  wishes  go  with  me  to  my  trial ;  wherein  if  I  be 
foil'd,  there  is  but  one  sham'd  that  was  never  gracious ;  if 
kill'd,  but  one  dead  that  is  willing  to  be  so.  I  shall  do  my 
friends  no  wrong,  for  I  have  none  to  lament  me ;  the  world 
no  injury,  for  in  it  I  have  nothing ;  only  in  the  world  I  fill 
up  a  place,  which  may  be  better  supplied  when  I  have  made 
it  empty.  173 

Rosalind.  The  little  strength  that  I  have,  I  would  it 
were  with  you. 

Celia.    And  mine,  to  eke  out  hers. 

Rosalind.  Fare  you  well :  pray  heaven  I  be  deceiv'd 
in  you  !  178 

Celia.   Your  heart's  desires  be  with  you  ! 

Charles.  Come,  where  is  this  young  gallant  that  is  so 
desirous  to  lie  with  his  mother  earth? 

Orlando.  Ready,  sir ;  but  his  will  hath  in  it  a  more 
modest  working.  183 

Duke  Frederick.    You  shall  try  but  one  fall. 

Charles.  No,  I  warrant  your  Grace,  you  shall  not  entreat 
him  to  a  second,  that  have  so  mightily  persuaded  him  from 
a  first.  187 

165.  thoughts  ;  wherein  I  Fi  |  thoughts.  Herein  I  Dyce  I  thoughts, 
thoughts.     Therein      I      Johnson  I         I  Spedding. 

165.  In  previous  editions  of  Hudson's  Shakespeare, '  wherein '  was 
omitted  as  having  no  coherence  with  the  context.  In  the  present 
edition  the  Folio  text  is  restored.  Grammatically,  'wherein'  is  a 
crux,  but  the  meaning  is  obvious  enough.  —  to  deny :  in  denying. 

168.  gracious :  favored.  The  word  means  '  attractive '  and  so  passes 
naturally  into  the  sense  of  '  acceptable.'    Cf.  j  Henry  VI,  III,  ill,  117. 


22  THE   NEW   HUDSON   SHAKESPEARE      act  I 

Orlando.  You  mean  to  mock  me  after ;  you  should  not 
have  mock'd  me  before  :  but  come  your  ways. 

Rosalind.    Now  Hercules  be  thy  speed,  young  man  !   190 

Celia.  I  would  I  were  invisible,  to  catch  the  strong  fellow 
by  the  leg.  [Charles  and  Orlando  'wrestle\ 

Rosalind.    O  excellent  young  man  ! 

Celia.  If  I  had  a  thunderbolt  in  mine  eye,  I  can  tell  who 
should  down.  [Charles  is  thrown.  Shout] 

Duke  Frederick.    No  more,  no  more.  196 

Orlando.  Yes,  I  beseech  your  Grace  :  I  am  not  yet  well 
breath'd. 

Duke  Frederick.    How  dost  thou,  Charles? 

Le  Beau.    He  cannot  speak,  my  lord.  200 

Duke  Frederick.    Bear  him  away,  — 

What  is  thy  name,  young  man? 

Orlando.  Orlando,  my  liege ;  the  youngest  son  of  Sir 
Rowland  de  Boys. 

Duke  Frederick.    I  would  thou  hadst  been  son  to  some 
man  else. 
The  world  esteem'd  thy  father  honourable,  205 

But  I  did  find  him  still  mine  enemy  : 
Thou  shouldst  have  better  pleas'd  me  with  this  deed, 

188.  Theobald's  suggestion  that  this  line  should  read,  "An  you 
mean  ..."  was  adopted  in  previous  editions  of  Hudson's  Shake- 
speare. Mason  proposed,  "If  you  mean.  .  .  ."  The  editors  of  the 
Cambridge  Shakespeare  say :  "  Before  we  were  aware  of  Mason's 
conjecture,  it  occurred  to  us  that  the  sentence  would  run  better 
thus :  'An  you  mean.  .  .  .'  'And  '  for  '  an '  is  a  more  probable  reading 
than  '  if,'  as  it  may  have  been  omitted  by  the  printer,  who  mistook 
it  for  part  of  the  stage  direction  — '  Orl.  and '  for  '  Orland.'  " 

198.  breath'd:  exercised.  Ci.  T/ie  Tatnini^^of  t/te Skre-v,\nd.,\\,  ^o. 

206.  still :  always.    So  in  IH,  ii,  50,  and  elsewhere  in  Shakespeare. 

207.  shouldst:  wouldst.    See  Abbott,  §322. 


SCENE  II  AS  YOU    LIKE    IT  23 

Hadst  thou  descended  from  another  house. 
But  fare  thee  well ;   thou  art  a  gallant  youth  : 
I  would  thou  hadst  told  me  of  another  father.  210 

\_Exeunf  Duke  Frederick,  traifi,  and  Le  Beau] 

Celia.    Were  I  my  father,  coz,  would  I  do  this? 

Orlando.  I  am  more  proud  to  be  Sir  Rowland's  son, 
His  youngest  son ;  and  would  not  change  that  calling, 
To  be  adopted  heir  to  Frederick. 

Rosalind.    My  father  lov'd  Sir  Rowland  as  his  soul,     215 
And  all  the  world  was  of  my  father's  mind  : 
Had  I  before  known  this  young  man  his  son, 
I  should  have  given  him  tears  unto  entreaties, 
Ere  he  should  thus  have  ventur'd. 

Celia.  Gentle  cousin, 

Let  us  go  thank  him  and  encourage  him  :  220 

My  father's  rough  and  envious  disposition 
Sticks  me  at  heart.  —  Sir,  you  have  well  deserv'd  : 
If  you  do  keep  your  promises  in  love 
But  justly,  as  you  have  exceeded  all  promise. 
Your  mistress  shall  be  happy. 

Rosalind.  Gentleman,  225 

[  Giving  him  a  chain  fro?n  her  neck~\ 

211.  Scene  VII  Pope.  promise     Capell  |  as     you've    here 

224.  as  you   have    exceeded    all       exceeded  promise  Hanmer. 
promise    Ff  |  as  you   have  exceeded  225.  {Giving  him  .  .  .]  Theobald. 

213.  calling :  name.    A  very  unusual  use  of  the  word. 
2i8.  unto:  in  addition  to.    Cf.  Richa7-d II,  V,  iii,  97. 

221.  envious:  malicious.    Cf.  Love's  Labour'' s  Lost,  I,  i,  100. 

222.  Sticks  me  at  heart :  stabs  me  to  the  heart. 

224.  In  previous  editions  of  Hudson's  Shakespeare  the  Capell 
reading  was  adopted,  as  the  '  all '  of  the  Folios  seemed  to  upset  the 
metre.  But  the  line  as  it  stands  in  the  text  presents  no  greater  dif- 
ficulties prosodically  than  many  blank  verse  lines  in  Shakespeare. 


24  THE   NEW  HUDSON  SHAKESPEARE      act  I 

Wear  this  for  me,  one  out  of  suits  with  fortune, 

That  could  give  more,  but  that  her  hand  lacks  means.  — 

Shall  we  go,  coz? 

Celia.  Ay.  —  Fare  you  well,  fair  gentleman. 

Orlando.  Can  I  not  say,  I  thank  you?  My  better  parts 
Are  all  thrown  down ;  and  that  which  here  stands  up  230 
Is  but  a  quintain,  a  mere  lifeless  block. 

Rosalind.    He  calls   us    back :  my  pride  fell  with  my 
fortunes ; 
I  '11  ask  him  what  he  would. —  Did  you  call,  sir?  — 
Sir,  you  have  wrestled  well,  and  overthrown 
More  than  your  enemies. 

Celia.  Will  you  go,  coz?  235 

Rosalind.    Have  with  you.  —  Fare  you  well. 

\^Exeu7it  Rosalind  and  Celia] 

226.  one  out  of  suits :  one  thrown  off  or  discarded  by  fortune. 
There  is  an  obvious  play  here  upon  the  word  'suit '  as  meaning  both 
'  favor  sued  for '  and  '  livery.'    See  '  suit '  and  '  suite  '  in  Century. 

231.  quintain.  This  was  a  figure  set  up  for  tilters  to  run  at  in  a 
mock  tournament.  The  usual  form  was  a  post  with  a  crossbar  fixed 
to  the  top,  turning  on  a  pivot,  having  a  broad  board  at  one  end  and  a 
bag  full  of  sand  at  the  other.  Sometimes  the  figure  was  the  likeness 
of  a  Saracen,  or  a  Turk,  with  a  sword  in  the  right  hand  and  a  shield 
on  the  left  arm.  The  skill  consisted  in  striking  the  quintain  dexter- 
ously on  the  broad  board,  or  target,  and  then  dodging  the  blow  of 
the  sand  bag,  or  sword,  as  it  whirled  round.  There  are  the  remains  of 
an  old  quintain  near  Maidstone  in  Kent ;  and  at  the  May  games  held 
at  St.  MaryCray  (Kentshire)in  1891  the  quintain  was  revived.  Orlando 
is  talking  to  himself  in  this  speech,  the  ladies  having  withdrawn. 

234-235.  Tennyson  regarded  these  two  lines  as  "  one  of  the  most 
exquisite  things  for  simplicity  and  eloquence  in  Shakespeare."  — 
Mctiioir^  by  llallam  Lord  Tennyson,  II,  153. 

236.  Have  with  you:  I  will  go  along  with  you.  An  expression  in 
colloquial  use  in  England  as  late  as  the  close  of  the  eighteenth  century. 


SCENE  11  AS   YOU    LIKE    IT  2$ 

Orlando.    What   passion    hangs    these    weights   upon    my 

tongue  ? 
I  cannot  speak  to  her,  yet  she  urg'd  conference. 

0  poor  Orlando,  thou  art  overthrown  ! 

Or  Charles  or  something  weaker  masters  thee.  240 

Re-enter  Le  Beau 

Le  Beau.    Good  sir,  I  do  in  friendship  counsel  you 
To  leave  this  place.    Albeit  you  have  deserv'd 
High  commendation,  true  applause,  and  love. 
Yet  such  is  now  the  Duke's  condition. 
That  he  misconstrues  all  that  you  have  done,  245 

The  Duke  is  humorous  :  what  he  is,  indeed, 
More  suits  you  to  conceive  than  I  to  speak  of. 

Orlando.  I  thank  you,  sir  :  and,  pray  you,  tell  me  this ; 
Which  of  the  two  was  daughter  of  the  Duke, 
That  here  was  at  the  wrestling?  250 

240.  Ff  have  Enter  .  .  .  after  1.  238.       245.  misconstrues  1  misconsters  Ff. 

244.  condition :  disposition.  Shakespeare  often  uses  this  word  in 
the  sense  of  '  disposition,'  or  '  temper.'  So  in  T/ie  Aferckant  of  Venice, 
I,  ii,  143,  Portia  says  of  the  Moorish  prince  who  comes  to  woo  her, 
"  If  he  have  the  condition  of  a  saint,  and  the  complexion  of  a  devil, 

1  had  rather  he  should  shrive  me  than  wive  me."    Cf.  Richard  III, 
IV,  iv,  157,  "  Madam,  I  have  a  touch  of  your  condition." 

246.  humorous:  crotchety,  capricious,  moody,  subject  to  fits  and 
starts.  The  word  comes  to  have  this  meaning  from  the  theory  of 
the  old  physiologists  that  four  cardinal  humors — blood,  choler  or 
yellow  bile,  phlegm,  and  melancholy  or  black  bile  —  determine,  by 
their  conditions  and  proportions,  a  person's  physical  and  mental 
qualities.  The  influence  of  this  theory  survives  in  the  application  of 
the  terms  '  sanguine,'  '  choleric,'  '  phlegmatic,'  and  '  melancholy '  to 
disposition  and  temperament.    See  Furness  for  a  suggestive  note. 


26  THE   NEW  HUDSON   SHAKESPEARE       act  i 

Le  Beau.    Neither  his  daughter,  if  we  judge  by  manners  ; 
But  yet,  indeed,  the  taller  is  his  daughter : 
The  other  is  daughter  to  the  banish'd  Duke, 
And  here  detain'd  by  her  usurping  uncle. 
To  keep  his  daughter  company  ;  whose  loves  255 

Are  dearer  than  the  natural  bond  of  sisters. 
But  I  can  tell  you,  that  of  late  this  Duke 
Hath  ta'en  displeasure  'gainst  his  gentle  niece, 
Grounded  upon  no  other  argument 

But  that  the  people  praise  her  for  her  virtues,  260 

And  pity  her  for  her  good  father's  sake  ; 
And,  on  my  life,  his  malice  'gainst  the  lady 
Will  suddenly  break  forth.    Sir,  fare  you  well : 
Hereafter,  in  a  better  world  than  this, 
I  shall  desire  more  love  and  knowledge  of  you.  265 

Orlando.    I  rest  much  bounden  to  you  :  fare  you  well. 

\^£xif  Le  Beau] 
Thus  must  I  from  the  smoke  into  the  smother; 
From  tyrant  Duke  unto  a  tyrant  brother  :  — 
But  heavenly  Rosalind  !  [^aV/] 

252.  taller.  In  the  light  of  I,  iii,  iii,  and  IV,  iii,  87,  this  descrip- 
tion of  Celia  is  obviously  a  mistake.  In  Shakespeare  there  are  many 
surface  inconsistencies  of  this  kind.  Malone  substituted  'smaller'; 
Rowe, '  shorter,' — the  reading  adopted  in  previous  editions  of  Hud- 
son's Shakespeare.  Spedding  suggested  '  lesser,'  and  this  was  fol- 
lowed in  the  Globe  edition.  Walker  suspected  'taller'  to  be  "a 
slip  of  Shakespeare's  pen,"  and  adds,  "  the  word  he  had  in  his 
thoughts  was  probably  'shorter,'  not  'smaller,'  which  in  this  sense 
l^elongs  to  later  English." 

264.  in  a  better  world  than  this  :  in  a  better  state  of  things  than 
the  present.    No  allusion  to  the  world  beyond  the  grave. 

267.  from  the  smoke  into  the  smother :  from  bad  to  worse.  Evi- 
dently a  proverb  and,  like  many  popular  saws,  alliterative. 


SCENE  III  AS  YOU    LIKE    IT  2/ 

Scene  III.    A  room  i}i  the  palace 
Enter  Celia  aJid  Rosalind 

Celia.  Why,  cousin !  why,  Rosalind  !  Cupid  have  mercy  ! 
—  not  a  word  ? 

Rosalind.    Not  one  to  throw  at  a  dog. 

Celia.  No,  thy  words  are  too  precious  to  be  cast  away 
upon  curs ;  throw  some  of  them  at  me ;  come,  lame  me 
with  reasons.  6 

Rosalind.  Then  there  were  two  cousins  laid  up ;  when 
the  one  should  be  lam'd  with  reasons,  and  the  other  mad 
without  any. 

Celia.    But  is  all  this  for  your  father?  lo 

Rosalind.  No,  some  of  it  is  for  my  child's  father.  O, 
how  full  of  briers  is  this  working-day  world  1 

Celia.  They  are  but  burs,  cousin,  thrown  upon  thee  in 
holiday  foolery:  if  we  walk  not  in  the  trodden  paths,  our 
very  petticoats  will  catch  them.  15 

Rosalind.  I  could  shake  them  off  my  coat :  these  burs 
are  in  my  heart. 

Celia.    Hem  them  away. 

Rosalind.    I  would  try,  if  I  could  cry  hem,  and  have  him. 

Celia.    Come,  come,  wrestle  with  thy  affections.  20 

Rosalind.  O,  they  take  the  part  of  a  better  wrestler  than 
myself ! 

Celia.  O,  a  good  wish  upon  you  !  you  will  try  in  time, 
in  despite  of  a  fall.    But,  turning  these  jests  out  of  service. 

Scene  III  |  Scene  VIII  Pope.  11.   child's    father    Ff  |  father's 

4.  thy  F1F2  I  my  F3F4.  child  Rowe  Pope  Johnson  Dyce. 

24.  A  quibble  is  probably  intended  between  falling  in  love  and 
falling  by  a  wrestler's  hand. 


28  THE   NEW  HUDSON   SHAKESPEARE       act  I 

let  us  talk  in  good  earnest.  Is  it  possible,  on  such  a  sudden, 
you  should  fall  into  so  strong  a  hking  with  old  Sir  Row- 
land's youngest  son?  27 

Rosalind.   The  Duke  my  father  lov'd  his  father  dearly. 

Celia.  Doth  it  therefore  ensue  that  you  should  love  his 
son  dearly?  By  this  kind  of  chase,  I  should  hate  him,  for 
my  father  hated  his  father  dearly ;  yet  I  hate  not  Orlando. 

Rosalind.    No,  faith,  hate  him  not,  for  my  sake.  32 

Celia.    Why  should  I  not?  doth  he  not  deserve  well? 

Rosalind.  Let  me  love  him  for  that ;  and  do  you  love 
him  because  I  do.    Look,  here  comes  the  Duke. 

Celia.   With  his  eyes  full  of  anger.  36 

Enter  Duke  Frederick,  tvith  Lords 

Duke  Frederick.    Mistress,  dispatch  you  with  your  safest 
haste. 
And  get  you  from  our  court. 

Rosalind.  Me,  uncle? 

Duke  Frederick.  You,  cousin  ; 

Within  these  ten  days  if  that  thou  be'st  found 
So  near  our  public  court  as  twenty  miles,  40 

Thou  diest  for  it. 

26.  strong  FiFj]  strange  FsFj.  37.  F.7itcr  .  .  .  |  Enter  Duke  with 

33.  Scene  IX  I'ope.  Lords  Fl  (after  1.  ■^^. 

31.  In  Shakespeare's  time  it  was  just  as  correct  to  speak  of  hating 
dearly  as  of  loving  dearly ;  to  speak  of  a  dear  foe  as  well  of  a  dear 
friend.    So  in  Ilaiitlet,  I,  ii,  182: 

Would  I  had  met  my  dearest  foe  in  heaven, 
Or  ever  I  liad  seen  that  day. 

33.  Celia  here  speaks  ironically,  her  meaning  apparently  being  :  It 
was  because  your  father  deserved  well  that  my  father  hated  him  ;  and 
ought  I  not,  by  your  reasoning,  to  hate  Orlando  for  the  same  cause  .'' 


SCENE  III  AS  YOU    LIKE    IT  29 

Rosalind.  I  do  beseech  your  Grace, 

Let  me  the  knowledge  of  my  fault  bear  with  me  : 
If  with  myself  I  hold  intelligence, 
Or  have  acquaintance  with  mine  own  desires ; 
If  that  I  do  not  dream,  or  be  not  frantic,  —  45 

As  I  do  trust  I  am  not,  —  then,  dear  uncle, 
Never  so  much  as  in  a  thought  unborn 
Did  I  offend  your  Highness. 

Duke  Frederick.  Thus  do  all  traitors  : 

If  their  purgation  did  consist  in  words, 
They  are  as  innocent  as  grace  itself :  50 

Let  it  suffice  thee,  that  I  trust  thee  not. 

Rosalind.    Yet  your  mistrust  cannot  make  me  a  traitor  : 
Tell  me  whereon  the  likelihood  depends. 

Duke  Frederick.  Thou  art  thy  father's  daughter  ;  there  's 
enough. 

Rosalind.    So  was  I  when  your  Highness  took  his  duke- 
dom ;  55 
So  was  I  when  your  Highness  banish'd  him  : 
Treason  is  not  inherited,  my  lord  ; 
Or,  if  we  did  derive  it  from  our  friends, 
What 's  that  to  me  ?  my  father  was  no  traitor  : 
Then,  good  my  liege,  mistake  me  not  so  much                   60 
To  think  my  poverty  is  treacherous. 

Celia.    Dear  sovereign,  hear  me  speak. 

Duke  Frederick.  Ay,  Celia  ;  we  stay'd  her  for  your  sake, 
Else  had  she  with  her  father  rang'd  along. 

53.  likelihood  F2F8F4  |  likelihoods  Fi.         59.  me  ?  Theobald  |  me,  Ff, 

49.  purgation :  proof  of  innocence.  Dr.  Furness  points  out  that  this 
is  a  technical  use  of  a  legal  term,  vulgar  purgation,  as  distinguished 
from  canonical,  demanding  ordeals  by  fire,  water,  or  combat. 


30  THE   NEW  HUDSON   SHAKESPEARE      act  i 

Celia.    I  did  not  then  entreat  to  have  her  stay ;  65 

It  was  your  pleasure  and  your  own  remorse  : 
I  was  too  young  that  time  to  value  her ; 
But  now  I  know  her :  if  she  be  a  traitor, 
Why,  so  am  I ;  we  still  have  slept  together, 
Rose  at  an  instant,  learn'd,  play'd,  eat  together ;  70 

And  wheresoe'er  we  went,  like  Juno's  swans, 
Still  we  went  coupled  and  inseparable. 

Duke  Frederick.    She  is  too  subtle  for  thee ;  and  her 
smoothness, 
Her  very  silence,  and  her  patience, 

Speak  to  the  people,  and  they  pity  her.  75 

Thou  art  a  fool :  she  robs  thee  of  thy  name ; 
And  thou  wilt  show  more  bright  and  seem  more  virtuous 
When  she  is  gone.    Then  open  not  thy  lips  : 
Firm  and  irrevocable  is  my  doom 
Which  I  have  pass'd  upon  her  :  she  is  banish'd.  80 

Celia.    Pronounce  that  sentence,  then,  on  me,  my  liege  : 
I  cannot  live  out  of  her  company. 

Duke  Frederick.    You  are  a  fool.  —  You,  niece,  provide 
yourself  : 
If  you  outstay  the  time,  upon  mine  honour, 
And  in  the  greatness  of  my  word,  you  die.  85 

\^Exeunt  Duke  Frederick  and  Lords] 

Celia.    O  my  poor  Rosalind  !  whither  wilt  thou  go? 
Wilt  thou  change  fathers?    I  will  give  thee  mine. 
I  charge  thee,  be  not  thou  more  griev'd  than  I  am. 

86.  Scene  X  Pope.  87.  fathers  Fi  |  father  F2F8F4. 

66.  remorse :  compas.sion.    So  in  Tlic  Tempest,  V,  i,  77. 
71.  Juno's  swans.    Commentators  make  clear  that  it  was  Venus 
and  not  Juno  who  had  the  "coupled  swans." 


SCENE  III  AS  YOU    LIKE   IT  31 

Rosalind.    I  have  more  cause. 

Celia.  Thou  hast  not,  cousin. 

Prithee,  be  cheerful :  know'st  thou  not,  the  Duke  90 

Hath  banish'd  me,  his  daughter? 

Rosalind.  That  he  hath  not. 

Celia.    No,  hath  not?  Rosahnd  lacks,  then,  the  love 
Which  teacheth  thee  that  thou  and  I  am  one  : 
Shall  we  be  sunder'd  ?  shall  we  part,  sweet  girl  ? 
No  ;  let  my  father  seek  another  heir.  95 

Therefore  devise  with  me  how  we  may  fly. 
Whither  to  go,  and  what  to  bear  with  us  : 
And  do  not  seek  to  take  your  change  upon  you. 
To  bear  your  griefs  yourself,  and  leave  me  out ; 
For,  by  this  heaven,  now  at  our  sorrows  pale,  100 

Say  what  thou  canst,  I  '11  go  along  with  thee. 

Rosalind.    Why,  whither  shall  we  go  ? 

Celia.   To  seek  my  uncle  in  the  forest  of  Arden. 

Rosalind.    Alas,  what  danger  will  it  be  to  us, 
Maids  as  we  are,  to  travel  forth  so  far  !  105 

Beauty  provoketh  thieves  sooner  than  gold. 

Celia.    I  '11  put  myself  in  poor  and  mean  attire, 
And  with  a  kind  of  umber  smirch  my  face; 

92.  No,  Ff  I  No?  Rowe.  g8.  your   change   Fi  |  your  charge 

93.  thee    Ff  |  me    Theobald.  —       F2F3F4. 

thou  Ff  I  she  Capell  (conj.). — am  108.  smirch  Fi  |  smitch  F2  I  smutch 

Ff  I  are  Hanmer.  F3. 

93.  The  Folio  reading  is  retained,  as  neither  the  sense  nor  the 
grammar  warrants  alteration.  Johnson's  famous  defense  of  '  thee  ' 
is :  "  Where  would  be  the  absurdity  of  saying,  You  know  not  the 
law  which  teaches  you  to  do  right  ?  "  Elizabethan  grammar  sanc- 
tions the  attraction  of  a  verb  to  its  nearest  subject. 

98.  change  :  altered  fortune.    Dr.  Fumess  would  read  '  charge.' 
108.  umber  :  a  dusky,  yellow-colored  earth.    From  Umbria  in  Italy. 


S2  THE   NEW  HUDSON   SHAKESPEARE      ACT  I 

The  like  do  you  :  so  shall  we  pass  along, 
And  never  stir  assailants. 

Rosalind.  Were  it  not  better,  no 

Because  that  I  am  more  than  common  tall, 
That  I  did  suit  me  all  points  like  a  man? 
A  gallant  curtle-axe  upon  my  thigh, 
A  boar-spear  in  my  hand ;  and  —  in  my  heart 
Lie  there  what  hidden  woman's  fear  there  will —  115 

We  '11  have  a  swashing  and  a  martial  outside ; 
As  many  other  mannish  cowards  have 
That  do  outface  it  with  their  semblances. 

Celia.    What  shall  I  call  thee  when  thou  art  a  man? 

Rosalind.    I  '11  have  no  worse  a  name  than  Jove's  own 
page;  120 

And  therefore  look  you  call  me  Ganymede. 
But  what  will  you  be  call'd  ? 

Celia.    Something  that  hath  a  reference  to  my  state ; 
No  longer  Celia,  but  Aliena. 

Rosalind.    But,  cousin,  what  if  we  assay 'd  to  steal       125 
The  clownish  fool  out  of  your  father's  court? 
Would  he  not  be  a  comfort  to  our  travel? 

113.  curtle-axe.  This  form  of  the  word  (Fr.  contelas)  is  a  popular 
corruption  of  the  sixteenth  century  '  coutelase,'  a  short  sword.  Other 
forms  are  '  courtlas,'  'curtlass,'  'curtlaxe.'  Spenser,  The  Faerie 
Qiieene,  IV,  ii,  42,  uses  the  form  'curtaxe.' 

116.  swashing.  So  in  Fuller's  IVortliies  of  England :  "A  ruffian 
is  the  same  with  a  swaggerer,  so  called,  because  endeavouring  to 
make  that  side  swag  or  weigh  down,  whereon  he  engageth.  The 
same  also  with  swash-buckler,  from  swashing  or  making  a  noise  on 
bucklers."    'Swashers'  occurs  in  Henry  V,  III,  ii,  30. 

118.  '  It '  is  used  here  indefinitely.    See  Abbott,  §  226. 

121.  "Alinda  being  called  Aliena,  and  Rosalynd  Ganimede,  they 
travailed  along  the  vineyardes." —  Lodge's  Rosalynde. 


SCENE  III  AS   YOU    LIKE    IT  33 

Celia.    He  '11  go  along  o'er  the  wide  world  with  me  ; 
Leave  me  alone  to  woo  him.    Let 's  away, 
And  get  our  jewels  and  our  wealth  together;  130 

Devise  the  fittest  time  and  safest  way 
To  hide  us  from  pursuit  that  will  be  made 
After  my  flight.    Now  go  in  we  content, 
To  liberty,  and  not  to  banishment.  [^Exeunf] 

129.  woo  Rowe  I  woe  Fi  |  wooe  F2.  133.  in  we  Fi  |  we  in  F2F3. 

133.  If  the  First  Folio  reading  be  followed,  '  content '  is  an  adjec- 
tive. The  text  of  the  other  Folios  makes  '  content '  a  noun  meaning 
•contentment,'  as  in  III,  ii,  24;  He^iry  VIII,  II,  iii,  21. 


ACT   II 

Scene  I.    The  Forest  of  Arden 

Enter  Duke  Senior,  Amiens,  and  other  Lords,  like  foresters 

Duke  Senior.    Now,  my  co-mates  and  brothers  in  exile, 
Hath  not  old  custom  made  this  life  more  sweet 
Than  that  of  painted  pomp?    Are  not  these  woods 
More  free  from  peril  than  the  envious  court? 
Here  feel  we  not  the  penalty  of  Adam.  5 

The  seasons'  difference,  —  as  the  icy  fang 
And  churlish  chiding  of  the  winter's  wind, 

5.  not  Ff  I  but  Theobald. — Adam.  6.  — as  the  icy  fang  |  as  the  Icie 

I  Adam,  Ff.  phange  Ff. 

5.  Here  feel  we  not  the  penalty  of  Adam.  Theobald  changed  the 
'  not '  of  the  Folios  into  '  but ',  and  has  been  followed  by  a  number 
of  editors.  This  puts  'season's  difference'  in  apposition  with 
'  penalty  of  Adam.'  While  the  change  of  seasons  was  of  old  thought 
to  be  a  consequence  of  the  Fall,  it  was  never  thought  to  be  the 
special  penalty  denounced  upon  Adam  :  the  penalty  was,  "  In  the 
sweat  of  thy  face  shalt  tliou  eat  bread."  The  curse  was  held  to  be 
laid  upon  Adam  as  head  and  representative  of  the  race,  and  most 
men  have  ever  been  subject  to  it ;  yet  there  have  always  been  some 
individual  exceptions,  as  the  Duke  and  his  co-mates  are  in  their 
exile  :  "  they  fleet  the  time  carelessly,  as  they  did  in  the  golden 
world."  The  Duke  then  goes  on,  consistently,  to  say  what  they 
do  feel. 

6.  In  previous  editions  of  Hudson's  Shakespeare  this  line  read, 
'  the  seasons'  difference  and  the  icy  fang,'  but  in  the  present  text 
the  reading  of  the  Folios  is  restored,  with  a  readjustment  of  the 
punctuation.  —  as  :  namely,  to  wit. 

31 


SCENE  I  AS   YOU    LIKE    IT  35 

Which  when  it  bites  and  blows  upon  my  body, 

Even  till  I  shrink  with  cold,  I  smile,  and  say, 

'  This  is  no  flattery,'  — these  are  counsellors  10 

That  feelingly  persuade  me  what  I  am. 

Sweet  are  the  uses  of  adversity  ; 

Which,  like  the  toad,  ugly  and  venomous. 

Wears  yet  a  precious  jewel  in  his  head  : 

And  this  our  life,  exempt  from  pubHc  haunt,  15 

Finds  tongues  in  trees,  books  in  the  running  brooks, 

Sermons  in  stones  and  good  in  every  thing. 

Amiens.    I  would  not  change  it.    Happy  is  your  Grace. 

8.  bites  F1F2  I  baits  F3F4.  18.  I  ...  it  (see  note  below). 

8.  Which.  While  this  'which  '  may  be  explained  as  equivalent  to 
'as  to  which'  (Abbott,  §  272),  it  is  more  obviously  an  example  of 
anacoluthon.  —  bites  and  blows :  blows  bitingly.    A  hendiadys. 

13-14.  Of  the  twenty-three  allusions  (five  of  them  significantly 
enough  in  Richard  III)  which  Shakespeare  makes  to  the  toad,  about 
half  refer  to  the  venom  which  old  belief  attributed  to  it,  the  others 
to  its  ugliness.  The  passage  in  the  text  is  the  only  allusion  to  the 
toadstone  of  the  sixteenth  century  naturalists.  With  that  passion 
for  real  or  fictitious  natural  history  which  is  one  of  the  characteristics 
of  euphuism,  Lyly  says  in  a  passage  quoted  word  for  word  by  Meres 
in  Wits  Commomvealth,  "  the  foule  Toade  hath  a  faire  stone  in  his 
head,"  and  then  he  moralizes  thereon.  King,  in  his  Natural  History 
of  Gems  and  Decorative  Stones,  shows  how  the  old  belief  is  undoubt- 
edly based  upon  a  popular  etymology.  Referring  to  the  Batrachites, 
or  toadstone,  of  Pliny  as  having  received  its  name  because  it  was 
like  the  toad  or  frog  in  color,  he  says:  "Understanding  the  ancient 
term  as  implying  the  natural  production  of  the  animal  according  to 
the  analogy  of  other  similar  names,  as  the  Saurites,  Echites,  etc., 
doctors  taught  that  '  the  toad,  ugly  and  venomous,  wears  yet  a  pre- 
cious jewel  in  his  head.'  " 

18.  I  would  not  change  it.  In  the  Folios  these  words  stand  as  the 
beginning  of  the  speech  of  Amiens.  Upton  gave  the  first  words  to 
the  Duke,  and  Dyce  observes :  "  It  seems  strange  that  no  one  before 


36  THE   NEW  HUDSON   SHAKESPEARE     act  ii 

That  can  translate  the  stubbornness  of  fortune 

Into  so  quiet  and  so  sweet  a  style.  20 

Duke  Senior.    Come,  shall  we  go  and  kill  us  venison  ? 
And  yet  it  irks  me  the  poor  dappled  fools, 
Being  native  burghers  of  this  desert  city, 
Should  in  their  own  confines  with  forked  heads, 
Have  their  round  haunches  gor'd. 

First  Lord.  Indeed,  my  lord,  25 

The  melancholy  Jaques  grieves  at  that ; 
And,  in  that  kind,  swears  you  do  more  usurp 
Than  doth  your  brother  that  hath  banish'd  you. 
To-day  my  Lord  of  Amiens  and  myself 
Did  steal  behind  him  as  he  lay  along  30 

Under  an  oak,  whose  antique  root  peeps  out 

Upton  should  have  seen  that  they  must  belong  to  the  Duke,  and 
still  stranger  that,  after  the  error  was  once  pointed  out,  any  editor 
should  persist  in  retaining  it."  For  a  defense  of  the  reading  of  the 
Folios,  see  Fumess. 

23.  Lodge  speaks  of  sheep  as  "  citizens  of  field."  He  also  applies 
to  deer  the  expression  "citizens  of  wood."  Cf.  The  Merchant  of 
Venice,  I,  i,  10,  and  'Dxdt.yton's  Polyolbioji,  XVIII: 

Where,  feareless  of  the  Hunt,  the  Hart  securely  stood. 
And  euery  where  walkt  free,  a  Burgesse  of  the  Wood. 

24.  forked  heads.  Question  has  been  made  as  to  what  these 
were.  Ascham,  in  Toxophilus,  appears  to  settle  the  matter.  He 
describes  two  kinds  of  arrow  heads  as  follows  :  "  The  one  .  . .  hauying 
two  poyntes  or  barbes,  lookyng  backewarde  to  the  stele  and  the 
fathers,  which  surely  we  call  in  Englishe  a  brode  arrowe  head  or  a 
swalowe  tayle.  The  other  .  .  .  hauing  .ii.  poyntes  stretchyng  for- 
warde,  and  this  Englysh  men  do  call  a  forke-head."  And  again: 
"  Commodus  the  Emperoure  vsed  forked  heades,  whose  facion 
Herodiane  doeth  lyuely  and  naturally  describe,  sayinge  that  they 
were  lyke  the  shap  of  a  new  mone."  That  '  forked  heads '  are  not 
'  antlers  '  is  obvious.    Stags  could  hardly  gore  their  own  haunches. 


SCENE  I  AS  YOU    LIKE    IT  37 

Upon  the  brook  that  brawls  along  this  wood  : 

To  the  which  place  a  poor  sequester'd  stag, 

That  from  the  hunter's  aim  had  ta'en  a  hurt, 

Did  come  to  languish ;  and,  indeed,  my  lord,  35 

The  wretched  animal  heav'd  forth  such  groans, 

That  their  discharge  did  stretch  his  leathern  coat 

Almost  to  bursting,  and  the  big  round  tears 

Cours'd  one  another  down  his  innocent  nose 

In  piteous  chase  ;  and  thus  the  hairy  fool,  40 

Much  marked  of  the  melancholy  Jaques, 

Stood  on  th'  extremest  verge  of  the  swift  brook, 

Augmenting  it  with  tears. 

Duke  Senior.  But  what  said  Jaques? 

Did  he  not  moralize  this  spectacle? 

First  Lord.    O,  yes,  into  a  thousand  similes.  45 

First,  for  his  weeping  into  the  needless  stream ; 
'  Poor  deer,'  quoth  he,  '  thou  mak'st  a  testament 
As  worldhngs  do,  giving  thy  sum  of  more 
To  that  which  had  too  much.'    Then,  being  there  alone. 
Left  and  abandon'd  of  his  velvet  friends ;  50 

'  'T  is  right,'  quoth  he  ;   '  thus  misery  doth  part 

49.  there  Fi  |  omitted  in  F2F3F4.  50.  friends  Rowe  |  friend  Ff. 

43.  So  Drayton,  in  Polyolbion,  XIII,  in  a  spirited  description  of  a 
deer  hunt  in  the  Warwickshire  forest  of  Arden,  has  these  Unes : 

He  who  the  Mourner  is  to  his  owne  dying  Corse 
Upon  the  ruthless  earthe  his  precious  teares  lets  fall. 

Attached  to  this  is  a  marginal  note :  "  The  Hart  weepeth  at  his  dying ; 
his  teares  are  held  to  be  precious  in  medicine." 

46.  needless :  not  needing.    See  Abbott,  §  3. 

48-49.  Cf.  J  Henry  VI,  V,  iv,  8 ;  A  Lover's  Complaint,  38-40. 

50.  velvet  friends :  sleek-coated  companions. 


38  THE   NEW  HUDSON    SHAKESPEARE     act  il 

The  flux  of  company  :  '  anon,  a  careless  herd, 

Full  of  the  pasture,  jumps  along  by  him, 

And  never  stays  to  greet  him  :   'Ay,'  quoth  Jaques, 

'  Sweep  on,  you  fat  and  greasy  citizens  ;  55 

'T  is  just  the  fashion  :  wherefore  do  you  look 

Upon  that  poor  and  broken  bankrupt  there?  ' 

Thus  most  invectively  he  pierceth  through 

The  body  of  the  country,  city,  court, 

Yea,  and  of  this  our  life  ;  swearing  that  we  60 

Are  mere  usurpers,  tyrants,  and  what 's  worse, 

To  fright  the  animals  and  to  kill  them  up, 

In  their  assign'd  and  native  dwelling-place. 

Duke  Senior.   And  did  you  leave  him  in  this  contem- 
plation ? 

Second  Lord.  We  did,  my  lord,  weeping  and  commenting 
Upon  the  sobbing  deer. 

Duke  Senior.  Show  me  the  place  :  66 

I  love  to  cope  him  in  these  sullen  fits. 
For  then  he  's  full  of  matter. 

First  Lord.    I  '11  bring  you  to  him  straight.       \^£xeunt'\ 

59.  of  the  F-zF-iFi  |  of  Fi.  60.  of  this  Fi  |  this  F8F4. 

52.  flux  :  current.    Or  '  conflux,'  as  in  Paradise  Regaitted,  IV,  62. 

57.  Moberly  suggested  that  Shakespeare  had  his  father's  bank- 
ruptcy in  mind  when  he  wrote  this  passage. 

58.  invectively  :  in  bitter  terms.    A  very  rare  use  of  the  word. 

61.  what 's.    '  What'  is  for  the  indefinite  'whatever.' 

62.  kill  them  up.  '  Up  '  in  Middle  and  Elizabethan  English  is 
often  added  to  verbs  intensively  to  show  that  the  action  is  com- 
pleted.    Cf.  Chaucer,  The  Legend  of  Good  IVotnen,  11.  1216-1217: 

Thus  seyn  thise  yonge  folk,  and  up  they  kille 
These  hertes  wilde,  and  han  hem  at  his  wille. 

67.  cope  :  encounter.    This  verb  is  now  used  intransitively. 


SCENE  II  AS   YOU    LIKE    IT  39 

Scene  II.    A  room  in  the  palace 
Enter  Duke  Frederick,  with  Lords 

Duke  Frederick.    Can  it  be  possible  that  no  man  saw 
them? 
It  cannot  be  :  some  villains  of  my  court 
Are  of  consent  and  sufferance  in  this. 

First  Lord.    I  cannot  hear  of  any  that  did  see  her. 
The  ladies,  her  attendants  of  her  chamber,  5 

Saw  her  a-bed ;  and,  in  the  morning  early. 
They  found  the  bed  untreasur'd  of  their  mistress. 

Second  Lord.    My  lord,  the  roynish  clown,  at  whom  so  oft 
Your  Grace  was  wont  to  laugh,  is  also  missing. 
Hisperia,  the  princess'  gentlewoman,  10 

Confesses  that  she  secretly  o'erheard 
Your  daughter  and  her  cousin  much  commend 
The  parts  and  graces  of  the  wrestler 

A  room  in  .  .  .  Capell.  10.  Hisperia  Ff  |  Hesperia  Warburton. 

3.  consent  and  sufferance.  "  A  quasi-legal  term,  applied  to  a  landlord 
who  takes  no  steps  to  eject  a  tenant  whose  time  is  expired."  —  Moberly. 

8.  rojmish.  The  word  is  here  used  as  a  general  term  of  contempt ; 
literally  it  means  '  scabbed,'  '  mangy.'  It  is  from  the  Middle  English 
'  roigne  '  or  '  royne,'  a  word  found  in  the  description  of  Idleness,  the 
'  mayden  curteys,'  in  TAe  Romaunt  of  the  Rose : 

Her  nekke  was  of  good  fasoun, 

In  lengthe  and  gretnesse,  by  resoun, 

Withoute  bleyne,  scabbe,  or  royne. 

It  is  the  Old  French  roingne  from  the  Latin  robigo.  Chaucer  uses  the 
forms  '  roinous,'  '  roynous,'  in  the  sense  of  '  rough.'  From  the  same 
French  and  Latin  sources  comes  'ronyon'  ('roinon,'  'runnion'),  the 
word  used  by  Shakespeare  in  The  Merry  Wives  of  Windsor,  IV,  ii, 
195,  and  Macbeth,  I,  iii,  6. 


40  THE   NEW  HUDSON   SHAKESPEARE     act  II 

That  did  but  lately  foil  the  sinewy  Charles ; 

And  she  believes,  wherever  they  are  gone,  15 

That  youth  is  surely  in  their  company. 

Duke  Frederick.    Send  to  his  brother ;  fetch  that  gal- 
lant hither  : 
If  he  be  absent,  bring  his  brother  to  me ; 
I  '11  make  him  find  him  :  do  this  suddenly ; 
And  let  not  search  and  inquisition  quail  20 

To  bring  again  these  foolish  runaways.  [^Exeunf^ 


Scene  III.    Before  Oliver's  house 
Enter  Orlando  and  Adam,  meeting 

Orlando,    Who  's  there  ? 

Adam.    What,  my  young  master  ?    O  my  gentle  master  ! 
O  my  sweet  master  !     O  you  memory 
Of  old  Sir  Rowland  !  why,  what  make  you  here  ? 
Why  are  you  virtuous?  why  do  people  love  you?  5 

And  wherefore  are  you  gentle,  strong,  and  valiant? 
Why  would  you  be  so  fond  to  overcome 

17.  brother  Ff  |  brother's  CapelL  Before  Oliver's  house  Capell. 

17.  his  brother.  As  'that  gallant'  clearly  refers  to  Orlando,  and 
as  the  order  is  to  send  to  Oliver's  house,  Mason  suggested  the  emen- 
dation, '  his  brother's,'  already  existing  in  Capell's  text,  and  this 
reading  was  adopted  in  previous  editions  of  Hudson's  Shakespeare. 

20.  quail :  slacken.  Middle  English  qiielen,  Anglo-Saxon  civelan, 
'  to  die.' 

3.  memory :  memorial.  In  Middle  and  Elizabethan  English  the 
use  of  abstract  nouns  in  a  concrete  sense  is  common.  So  in  the 
Communion  Service  of  the  Episcopal  Church  :  "A  perpetual  mem- 
ory of  that  his  precious  death,"  etc. 

4.  make :  do.    See  note,  p.  5,  1.  26. 

7.  fond  :  foolishly  eager.    For  the  derivation  of  'fond,'  see  Skeat. 


SCENE  III  AS  YOU   LIKE    IT  4I 

The  bonny  priser  of  the  humorous  Duke? 

Your  praise  is  come  too  swiftly  home  before  you. 

Know  you  not,  master,  to  some  kind  of  men  ic 

Their  graces  serve  them  but  as  enemies? 

No  more  do  yours  :  your  virtues,  gentle  master, 

Are  sanctified  and  holy  traitors  to  you. 

O,  what  a  world  is  this,  when  what  is  comely 

Envenoms  him  that  bears  it !  15 

Orlando.    Why,  what 's  the  matter  ? 

Adam.  O  unhappy  youth  ! 

Come  not  within  these  doors ;  within  this  roof 
The  enemy  of  all  your  graces  lives  : 
Your  brother  —  no,  no  brother;  yet  the  son  — 
Yet  not  the  son,  I  will  not  call  him  son  20 

Of  him  I  was  about  to  call  his  father,  — 
Hath  heard  your  praises ;  and  this  night  he  means 
To  burn  the  lodging  where  you  use  to  lie. 
And  you  within  it :  if  he  fail  of  that, 
He  will  have  other  means  to  cut  you  off :  25 

8.  bonny    F2F3F4  |  bonnie    Fi  |  16.  Orlando  omitted  in  Fi. 

boney  Warburton  |  bony  Johnson.  20.  Line  in  parenthesis  Ff. 

8.  bonny.  In  previous  editions  of  Hudson's  Shakespeare,  War- 
burton's  emendation  'boney'  (or  'bony')  was  adopted.  But  'bony' 
is  hardly  an  epithet  to  describe  a  wrestler,  though  '  sinewy '  (II,  ii, 
14)  may  be;  and  to  this  day  in  the  North  of  England  and  in  Scot- 
land 'bonny 'is  used  in  the  sense  of  'large,'  'stalwart.'  —  priser: 
prizefighter. — humorous:  crotchety.    See  note,  p.  25,  1.  246. 

13.  Shakespeare  is  fond  of  thus  mixing  incongruous  words  in 
order  to  express  certain  complexities  of  thought.  In  like  sort,  even 
so  grave  a  writer  as  Richard  Hooker  has  the  expression  '  heavenly 
fraud'  in  a  thoroughly  good  sense. 

15.  Envenoms  :  poisons.  Not  that  which  makes  a  man  venomous, 
but  that  which  acts  like  venom  upon  him. 


42  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

I  overheard  him  and  his  practices. 

This  is  no  place ;  this  house  is  but  a  butchery  : 

Abhor  it,  fear  it,  do  not  enter  it. 

Orlando.  Why,  whither,  Adam,  wouldst  thou  have  me  go? 

Adam.    No  matter  whither,  so  you  come  not  here.         30 

Orlando.  What,  wouldst  thou  have  me  go  and  beg  my  food  ? 
Or  with  a  base  and  boisterous  sword  enforce 
A  thievish  living  on  the  common  road? 
This  I  must  do,  or  know  not  what  to  do  : 
Yet  this  I  will  not  do,  do  how  I  can ;  35 

I  rather  will  subject  me  to  the  malice 
Of  a  diverted  blood  and  bloody  brother. 

Adam.    But  do  not  so.    I  have  five  hundred  crowns, 
The  thrifty  hire  I  sav'd  under  your  father. 
Which  I  did  store  to  be  my  foster-nurse  40 

When  service  should  in  my  old  limbs  lie  lame. 
And  unregarded  age  in  corners  thrown  : 
Take  that ;  and  He  that  doth  the  ravens  feed. 
Yea,  providently  caters  for  the  sparrow. 
Be  comfort  to  my  age  !     Here  is  the  gold ;  45 

All  this  I  give  you.     Let  me  be  your  servant : 
Though  I  look  old,  yet  I  am  strong  and  lusty ; 
For  in  my  youth  I  never  did  apply 
Hot  and  rebellious  liquors  in  my  blood ; 
Nor  did  not  with  unbashful  forehead  woo  5c 

The  means  of  weakness  and  debility  : 
Therefore  my  age  is  as  a  lusty  winter, 

ag,  30.  whither  |  whether  Fi.  30.  so  Fi  I  for  F2F3F4. 

27.  place:  residence. —  butchery:  slaughterliouse.  Ci.Yx.bouc/ieric. 
37.  diverted  blood :  blood  (i.e.  affection)  turned  out  of  its  natural 
course.    Cf.  '  gentle  condition  of  blood,'  I,  i,  40-41. 


SCENE  III  AS   YOU    LIKE    IT  43 

Frosty,  but  kindly  :  let  me  go  with  you  ; 

I  '11  do  the  service  of  a  younger  man 

In  all  your  business  and  necessities.  55 

Orlando.    O  good  old  man,  how  well  in  thee  appears 
The  constant  service  of  the  antique  world, 
When  service  sweat  for  duty,  not  for  meed  ! 
Thou  art  not  for  the  fashion  of  these  times, 
Where  none  will  sweat  but  for  promotion ;  60 

And,  having  that,  do  choke  their  service  up 
Even  with  the  having ;   it  is  not  so  with  thee. 
But,  poor  old  man,  thou  prun'st  a  rotten  tree, 
That  cannot  so  much  as  a  blossom  yield 
In  lieu  of  all  thy  pains  and  husbandry.  65 

But  come  thy  ways  ;  we  '11  go  along  together  ; 
And,  ere  we  have  thy  youthful  wages  spent. 
We  '11  light  upon  some  settled  low  content. 

Adam.    Master,  go  on,  and  I  will  follow  thee. 
To  the  last  gasp,  with  truth  and  loyalty.  70 

From  seventeen  years  till  now  almost  fourscore 
Here  lived  I,  but  now  live  here  no  more. 
At  seventeen  years  many  their  fortunes  seek ; 
But  at  fourscore  it  is  too  late  a  week  : 

Yet  fortune  cannot  recompense  me  better  75 

Than  to  die  well,  and  not  my  master's  debtor.        [^JSxeunf'] 

58.  meed  |  some  copies  of  Fi  read  71.  seventeen    Rowe  |  seauentie 

meede,  others  neede  \  need  F4.  Fi  |  seventy  F2F3F4. 

53.  kindly  :  natural,  seasonable.    Cf.  '  kind,'  III,  ii,  95  ;  IV,  iii,  59. 
58.  sweat.    Past  indicative.    See  Abbott,  §  341. 
61-62.  Because  their  promotion  makes  them  too  proud  to  serve. 
65.  Inlieuof:  inretumfor.    SomT/ieMerc/iantofVemce,W,i,^\o. 
74.  a  week.    Obviously   a   proverbial    expression    to    signify   an 
indefinite  period.    "Equivalent  to  '  i'  the  week.'"  —  Clar. 


44  THE  NEW  HUDSON   SHAKESPEARE     act  ii 

Scene  IV.     TJie  Forest  of  Arden 

Enter  Rosalind yi^r  Ganymede,  OvxAkfor  Aliena, 
and  Touchstone 

Rosalind.    O  Jupiter,  how  merry  are  my  spirits  ! 

Touchstone.  I  care  not  for  my  spirits,  if  my  legs  were 
not  weary.  3 

Rosalind.  I  could  find  in  my  heart  to  disgrace  my 
man's  apparel,  and  to  cry  like  a  woman ;  but  I  must  com- 
fort the  weaker  vessel,  as  doublet  and  hose  ought  to  show 
itself  courageous  to  petticoat :  therefore,  courage  !  good 
Aliena.  8 

Celia,    I  pray  you,  bear  with  me  ;  I  cannot  go  no  further. 

Touchstone.  For  my  part,  I  had  rather  bear  with  you 
than  bear  you  :  yet  I  should  bear  no  cross,  if  I  did  bear 
you;  for  I  think  you  have  no  money  in  your  purse.  12 

Rosalind.    Well,  this  is  the  forest  of  Arden. 

I.  merry  Ff  1  weary  Theobald.  9.  cannot  Fi  1  can  F2F3F4. 

I.  Furness  makes  a  brilliant  defense  of  the  Folio  reading  '  merry' 
in  Rosalind's  opening  speech.  He  says :  "  With  all  deference  to  my 
betters,  I  respectfully  but  firmly  protest  against  making  the  cart 
draw  the  horse,  and  changing  Rosalind's  speech  to  suit  the  humor 
in  Touchstone's.  ...  Is  it  not  clear  that  Rosalind  is  talking  for 
effect?  ...  Of  course  this  merriment  of  hers  is  assumed,  and  that 
it  is  assumed,  and  that  we  may  know  that  it  is  assumed,  she  tells  us, 
in  an  aside,  by  confessing  that  in  her  heart  she  is  ready  to  cry  like 
a  woman." 

II.  In  Shakespeare's  time  English  silver  coins  had  a  cross  stamped 
on  the  reverse,  and  hence  were  called  'crosses.'  This  gave  occa- 
sion for  frequent  puns.  So  Scott,  in  Woodstock,  Chapter  III  : 
"No  devil  so  frightful  as  that  which  dances  in  the  pocket  where 
there  is  no  cross  to  keep  him  out."  "A  play  upon  .  .  .  Matthciv, 
X,  38."  —  Clar. 


SCENE  IV  AS   YOU   LIKE   IT  45 

Touchstone.  Ay,  now  am  I  in  Arden ;  the  more  fool  I ; 
when  I  was  at  home,  I  was  in  a  better  place ;  but  travellers 
must  be  content.  16 

Rosalind.  Ay,  be  so,  good  T(/bchstone.  Look  you,  who 
comes  here ;  a  young  man  an^iai  old  in  solemn  talk. 

Enter  Corin  and  Silvius 

Corin.   That  is  the  way  to  make  her  scorn  you  still. 

Silvius.    O  Corin,  that  thou  knew'st  how  I  do  love  her  ! 

Corin.    I  partly  guess;  for  I  have  lov'd  ere  now.  21 

Silvius.    No,  Corin,  being  old,  thou  canst  not  guess, 
Though  in  thy  youth  thou  wast  as  true  a  lover 
As  ever  sigh'd  upon  a  midnight  pillow  : 
But  if  thy  love  were  ever  like  to  mine,  —  25 

As  sure  I  think  did  never  man  love  so,  — 
How  many  actions  most  ridiculous 
Hast  thou  been  drawn  to  by  thy  fantasy? 

Corin.    Into  a  thousand  that  I  have  forgotten. 

Silvius.   O,  thou  didst  then  never  love  so  heartily  !       30 
If  thou  remember'st  not  the  slightest  folly 
That  ever  love  did  make  thee  run  into, 
Thou  hast  not  lov'd  : 
Or  if  thou  hast  not  sat  as  I  do  now. 

Wearing  thy  hearer  in  thy  mistress'  praise,  35 

Thou  hast  not  lov'd  : 
Or  if  thou  hast  not  broke  from  company 

19.  Enter  .  .  .  In  Ff  after  1.  16.         35.  Wearing  Fi  |  Wearying  F2F3F4. 

18.  solemn :  earnest.    So  in  King  John,  IV,  ii,  90,  and  elsewhere. 
35.  Wearing  :  wearying.    Unnecessary  to  adopt  the  Second  Folio 
reading. 


46  THE   NEW  HUDSON   SHAKESPEARE     act  il 

Abruptly,  as  my  passion  now  makes  me, 

Thou  hast  not  lov'd.  39 

0  Phebe,  Phebe,  Phebe  !  [^x//] 
Rosalind.    Alas,  poor  shepherd  !  searching  of  thy  wound, 

1  have  by  hard  adventure  found  mine  own.  42 

Touchstone.  And  I  mine.  1  remember,  when  I  was  in 
love  I  broke  my  sword  upon  a  stone,  and  bid  him  take  that 
for  coming  a-night  to  Jane  Smile  :  and  I  remember  the 
kissing  of  her  batler  and  the  cow's  dugs  that  her  pretty 
chopt  hands  had  milk'd  :  and  I  remember  the  wooing  of  a 
peascod  instead  of  her ;  from  whom  I  took  two  cods  and, 
giving  her  them  again,  said  with  weeping  tears,  '  Wear  these 
for  my  sake.'  We  that  are  true  lovers  run  into  strange 
capers ;  but  as  all  is  mortal  in  nature,  so  is  all  nature  in 
love  mortal  in  folly.  52 

Rosalind.   Thou  speak' st  wiser  than  thou  art  ware  of. 

Touchstone.  Nay,  I  shall  ne'er  be  ware  of  mine  own 
wit  till  I  break  my  shins  against  it.  55 

41.  of  thy  wound  Rowe  |  of  they  45.  a-night  |  a  night  Fi  |  a  nights  F2. 
•would  Fi  I  of  their  wound  F2F3F-1.  46.  batler  Fi  |  batlet  F2F3F4. 

44.  him.  The  imaginary  rival  for  whose  visits  to  Jane  Smile  the 
stone  was  held  vicariously  responsible. 

46.  batler :  a  small  bat  used  by  washerwomen  for  beating  clothes. 
See  Skeat  under  '  battledoor.' 

47.  chopt:  chapped.  So  in  Julius  Ccusar,  I,  ii,  247;  Sonnets, 
LXli,  10. 

48.  peascod :  pea  pod.  Pea  pods  were  used  for  divination  in  love 
affairs  and  for  ornament.  '  Whom '  may  refer  to  Jane  or  to  the  plant. 
Touchstone  is  humorously  incoherent. 

52.  mortal  in  folly.  Schmidt  suggests  the  interpretation  'human 
in  folly,'  but  it  is  much  more  natural  to  regard  'mortal'  here  as  a 
general  intensive.  This  provincial  use  of  the  word  is  common  to-day 
in  such  phrases  as  '  mortal  great.' 


SCENE  IV  AS  YOU   LIKE    IT  47 

Rosalind.   Jove,  Jove  !  this  shepherd's  passion 
Is  much  upon  my  fashion. 

Touchstone.   And  mine;   but  it  grows  something  stale 
with  me. 

Celia.    1  pray  you,  one  of  you  question  yond  man, 
If  he  for  gold  will  give  us  any  food  :  .  60 

I  faint  almost  to  death. 

Touchstone.  Holla,  you  clown  ! 

Rosalind.    Peace,  fool :  he  's  not  thy  kinsman. 

CoRiN.  Who  calls? 

Touchstone.    Your  betters,  sir. 

CoRiN.  Else  are  they  very  wretched. 

Rosalind.    Peace,  I  say.  —  Good  even  to  you,  friend. 

Corin.    And  to  you,  gentle  sir,  and  to  you  all.  65 

Rosalind.    I  prithee,  shepherd,  if  that  love  or  gold 
Can  in  this  desert  place  buy  entertainment, 
Bring  us  where  we  may  rest  ourselves  and  feed  : 
Here  's  a  young  maid  with  travel  much  oppress'd 
And  faints  for  succour. 

Corin.  Fair  sir,  I  pity  her,  70 

And  wish,  for  her  sake  more  than  for  mine  own, 
My  fortunes  were  more  able  to  relieve  her ; 
But  I  am  shepherd  to  another  man 
And  do  not  shear  the  fleeces  that  I  graze  : 
My  master  is  of  churlish  disposition,  75 

59.  yond  Rowe  |  yon'd  Ff.  64.  you,  friend  F2F3F4  |  your  friend  Fi. 

64.  "  One  of  the  many  instances  where,  in  the  FoUo,  '  you '  and 
'your'  are  confounded."  —  Fumess. 

67.  desert :  uninhabited.    Often  so  in  modem  English  poetry. 

70.  faints  for  succour :  faints  for  want  of  succor.  See  note,  p.  67, 
1.  28.    For  ellipsis  of  nominative,  see  Abbott,  §§  399-402. 


48  THE   NEW  HUDSON   SHAKESPEARE     act  ll 

And  little  recks  to  find  the  way  to  heaven 

By  doing  deeds  of  hospitality  : 

Besides,  his  cote,  his  flocks,  and  bounds  of  feed, 

Are  now  on  sale ;  and  at  our  sheepcote  now, 

By  reason  of  his  absence,  there  is  nothing  80 

That  you  will  feed  on ;  but  what  is,  come  see, 

And  in  my  voice  most  welcome  shall  you  be. 

Rosalind.    What  is  he  that  shall  buy  his  flock  and  pasture  ? 

CoRiN.  That  young  swain  that  you  saw  here  but  erewhile, 
That  little  cares  for  buying  any  thing,  85 

Rosalind.    I  pray  thee,  if  it  stand  with  honesty, 
Buy  thou  the  cottage,  pasture,  and  the  flock. 
And  thou  shalt  have  to  pay  for  it  of  us. 

Celia.    And  we  will  mend  thy  wages.    I  like  this  place, 
And  willingly  could  waste  my  time  in  it.  90 

CoRiN.    Assuredly  the  thing  is  to  be  sold  : 
Go  with  me  :  if  you  like  upon  report 
The  soil,  the  profit,  and  this  kind  of  life, 
I  will  your  very  faithful  feeder  be,  94 

And  buy  it  with  your  gold  right  suddenly.  \_Exeunt'\ 

76.  recks    Hanmer  |  wreakes  Fi  79.  sheepcote     Pope  |  sheep-coat 

Vi  I  wreaks  F3F4.  Ff. 

78.  cote  Hanmer  |  Coate  F1F2.  94.  feeder  Ff  |  factor  Walker  coni. 

76.  recks :  cares.  So  in  Troihis  and  Cressida,  V,  vi,  26.  Cf.  Ham- 
let, I,  iii,  51  ;    Two  Gentlemen  of  Verona,  IV,  iii,  40. 

78.  cote  :  cottage.    This  form  is  usual  in  compound  words. 

82.  As  far  as  my  voice  has  the  power  to  bid  you  welcome.  "  So 
far  as  I  have  authority  to  bid  you  welcome." —  Clar. 

86.  stand  with:  be  consistent  with.    Cf.  Coriolanus,  II,  iii,  9. 

90.  waste:  spend.    So  in  The  Merchant  of  Venice,  III,  iv,  12. 

94.  feeder:  servant,  shepherd.  Walker's  suggestion  that 'factor ' 
(in  the  sense  of  '  business  agent ')  was  a  fitter  word  here  than  'feeder' 
was  adopted  in  previous  editions  of  Hudson's  Shakespeare. 


SCENE  V  AS  YOU   LIKE   IT  49 

Scene  V.     The  forest 
Enter  Amiens,  Jaques,  and  others 

Song 

Amiens.  Under  the  greenwood  tree 

Who  loves  to  lie  with  me, 

And  turn  his  merry  note 

Unto  the  sweet  bird's  throat, 
Come  hither,  come  hither,  come  hither :  5 

Here  shall  he  see 

No  enemy 
But  winter  and  rough  weather. 

Jaques.    More,  more,  I  prithee,  more.  9 

Amiens.    It  will  make  you  melancholy.  Monsieur  Jaques. 

Jaques.  I  thank  it.  More,  I  prithee,  more.  I  can  suck 
melancholy  out  of  a  song,  as  a  weasel  sucks  eggs.  More,  I 
prithee,  more. 

Amiens.  My  voice  is  ragged  :  I  know  I  cannot  please 
you.  15 

Jaques.  I  do  not  desire  you  to  please  me ;  I  do  desire 
you  to  sing.  Come,  more ;  another  stanzo  :  call  you  'em 
stanzos?  18 

Amiens.   What  you  will.  Monsieur  Jaques. 

I.  Amiens  Capell  1  Ff  omit.  6-7.  Printed  as  one  line  in  Ff. 

3.  turn   F3F4  I  turne    F1F2  |  tune  11-13.  Printed  as  verse  in  Ff. 

Rowe  Capell.  16-18.  Printed  as  verse  in  Ff. 

1-4.  In  his  study  of  Lyly,  Professor  Baker  indicates  the  resem- 
blance in  Pandora's  speech,  The  Woman  in  the  Moon,  III,  ii : 
Wilt  thou  for  my  sake  go  into  yon  grove, 
And  we  will  sing  unto  the  wild  bird's  note  ? 
17.  stanzo:  stanza.    In  Cotgrave  under 'stance' is  "also  a  stanzo,  or 
staffe  of  verses."  Sherwood (1632)  adds  "a stanzo  (of  eight  verses)." 


50  THE   NEW  HUDSON  SHAKESPEARE    act  ii 

Jaques.  Nay,  I  care  not  for  their  names ;  they  owe  me 
nothing.    Will  you  sing?  21 

Amiens.    More  at  your  request  than  to  please  myself. 

Jaques.  Well  then,  if  ever  I  thank  any  man,  I  '11  thank 
you ;  but  that  they  call  compliment  is  like  the  encounter 
of  two  dog-apes ;  and  when  a  man  thanks  me  heartily, 
methinks  I  have  given  him  a  penny,  and  he  renders  me 
the  beggarly  thanks.  Come,  sing ;  and  you  that  will  not, 
hold  your  tongues.  28 

Amiens.  Well,  I  '11  end  the  song.  —  Sirs,  cover  the  while  ; 
the  Duke  will  drink  under  this  tree.  —  He  hath  been  all 
this  day  to  look  you.  31 

Jaques.  And  I  have  been  all  this  day  to  avoid  him.  He 
is  too  disputable  for  my  company  :  I  think  of  as  many 
matters  as  he ;  but  I  give  heaven  thanks,  and  make  no 
boast  of  them.    Come,  warble,  come.  35 

Song 

W  h  o  d  o  th  am  b  i  t  i  o  n  sh  u  n ,      \_All  together  here'] 
And  loves  to  live  i'  the  sun, 

20.  owe  Fi  I  owne  F2.  24.  compliment  Pope  |  complement  Ff. 

20-21.  they  owe  me  nothing.  In  l.Tii'm  )!onih!a/aieremezns\.o^er\ier 
an  account,'  because  not  only  the  sums  but  the  names  of  the  parties 
are  entered.  Cicero  uses  iiomina  facere,  '  to  lend  money,'  and  nomen 
solvere^  '  to  pay  a  debt ' ;  and  in  Livy  we  have  nomett  traiiscribere  in 
alium,  '  to  transfer  a  debt  to  another.' 

29.  cover :  lay  the  cloth.  This  refers  to  the  forthcoming  banquet 
and  is  an  order  for  setting  out  and  preparing  the  table.  Accordingly, 
at  the  close  of  the  scene,  we  have  "  his  banquet  is  prepar'd." 

31.  look  you.  Shakespeare  repeatedly  uses  '  look  '  thus  as  a  transi- 
tive verb.  Cf.  The  Merry  WiTes  of  Windsor,  IV,  ii,  83 ;  Henry  V, 
IV,  vii,  76.    See  Abbott,  §  200. 

33.  disputable  :  disputatious.    See  Abbott,  §  3. 


SCENE  V  AS   YOU   LIKE    IT  51 

Seeking  the  food  he  eats, 

And  pleas'd  with  what  he  gets, 
Come  hither,  come  hither,  come  hither :  40 

Here  shall  he  see 

No  enemy 
But  winter  and  rough  weather. 

Jaques.  I  '11  give  you  a  verse  to  this  note,  that  I  made 
yesterday  in  despite  of  my  invention.  45 

Amiens.    And  I  '11  sing  it. 
Jaques.   Thus  it  goes  :  — 

If  it  do  come  to  pass 
That  any  man  turn  ass. 
Leaving  his  wealth  and  ease  50 

A  stubborn  will  to  please, 
Ducdame,  ducdame,  ducdame : 
Here  shall  he  see 
Gross  fools  as  he, 
And  if  he  will  come  to  me.  55 

44.  Jaques  |  Amy  (Amiens)  Fi.        52.  Ducdame  Ff  |  Due  ad  me  Hanmer. 

45.  in  despite  of  my  invention :  in  despite  of  my  lack  of  imagina- 
tion. Such  elliptical  expressions  are  not  uncommon  in  Shakespeare. 
So  in  III,  ii,  27-28,  "  He  that  hath  learn'd  no  wit  by  nature  nor  art 
may  complain  of  good  breeding  "  evidently  means  '  may  complain  of,' 
'  may  complain  of  want  of.'    See  note,  p.  67,  1.  28. 

52.  Furness  draws  attention  to  the  fact  that  this  phrase  has  been 
proved,  "  satisfactorily  to  the  provers,  to  be  not  only  Latin,  but  Ital- 
ian, and  French,  and  Gaelic,  and  Welsh,  and  Greek ! "  Hanmer's 
suggestion  that  the  reading  should  be  dtic  ad  tne, '  bring  him  to  me,' 
was  adopted  in  previous  editions  of  Hudson's  Shakespeare ;  but  it 
is  probable  that  W.  Aldis  Wright  is  near  the  truth  when  he  says: 
"  It  is  in  vain  that  any  meaning  is  sought  for  this  jargon,  as  Jaques 
only  intended  to  fill  up  a  line  with  sounds  that  have  no  sense." 
Canon  Ainger  suggested  a  change  to  '  duc-do'-me '  for  the  sake  of 
rhyming  with  the  last  verse  of  the  parody,  "And  if  he  will  come  to  me." 


52  THE  NEW  HUDSON  SHAKESPEARE     act  ii 

Amiens.   What 's  that  '  ducdame  '  ? 

Jaques.  'Tis  a  Greek  invocation,  to  call  fools  into  a 
circle.  I  '11  go  sleep,  if  I  can  ;  if  I  cannot,  I  '11  rail  against 
all  the  first-born  of  Egypt.  59 

Amiens.  And  I  '11  go  seek  the  Duke  :  his  banquet  is 
prepar'd.  \_Exeiml  severally'] 

Scene  VI.    The  forest 
Enter  Orlando  and  Adam 

Adam.  Dear  master,  I  can  go  no  further  :  O,  I  die  for 
food  !  Here  lie  I  down,  and  measure  out  my  grave.  Fare- 
well, kind  master.  3 

Orlando.  Why,  how  now,  Adam  !  no  greater  heart  in 
thee?  Live  a  little;  comfort  a  little ;  cheer  thyself  a  Httle. 
If  this  uncouth  forest  yield  any  thing  savage,  I  will  either 
be  food  for  it,  or  bring  it  for  food  to  thee.  Thy  conceit 
is  nearer  death  than  thy  powers.  For  my  sake  be  comfort- 
able ;  hold  death  awhile  at  the  arm's  end  :  I  will  here  be 
with  thee  presently ;  and  if  I  bring  thee  not  something  to 

6i.  \Exeunt  severally]  Theobald  1-16.    Printed    as    verse    in    Ff. 

I  Exeunt  Ff.  First  as  prose  by  Pope. 

57.  This  account  of  '  ducdame,'  read  in  the  light  of  the  speaker's 
character,  should  go  far  to  prove  the  theory  of  W.  Aldis  Wright. 
•  To  call  fools  into  a  circle '  is  cynically  prescient  of  what  the 
expression  has  actually  done. 

59.  the  first-born  of  Egypt.  Probably,  as  Johnson  suggested,  a 
proverbial  expression  for  highborn  persons.    See  Exodus,  xi,  5. 

I.  die  for:  die  for  lack  of.    Cf.  II,  iv,  70;  III,  ii,  28. 

5.  comfort:  fortify  thyself.  See  Century.  Cf.  '  comfortable,' 11.  8, 9. 

6.  uncouth  :  unknown.  —  savage  :   wild. 

7.  conceit:   imagination.    So  in  Hamlet,  III,  iv,  114. 


SCENE  VII  AS  YOU    LIKE    IT  53 

eat,  I  will  give  thee  leave  to  die  :  but  if  thou  diest  before 
I  come,  thou  art  a  mocker  of  my  labour.  Well  said  !  thou 
look'st  cheerly ;  and  I  '11  be  with  thee  quickly.  Yet  thou 
liest  in  the  bleak  air  :  come,  I  will  bear  thee  to  some  shel- 
ter ;  and  thou  shalt  not  die  for  lack  of  a  dinner,  if  there 
live  any  thing  in  this  desert.    Cheerly,  good  Adam  !  16 

Scene  VII.    The  forest 

A  table  set  out.    Enter  Duke  Senior,  Amiens,  and  Lords 
like  outlaws 

Duke  Senior.    I  think  he  be  transform'd  into  a  beast ; 
For  I  can  no  where  find  him  like  a  man. 

First  Lord.    My  lord,  he  is  but  even  now  gone  hence  : 
Here  was  he  merry,  hearing  of  a  song. 

Duke  Senior.    If  he,  compact  of  jars,  grow  musical,        5 
We  shall  have  shortly  discord  in  the  spheres. 
Go,  seek  him ;  tell  him  I  would  speak  with  him. 

Enter  Jaques 

First  Lord.   He  saves  my  labour  by  his  own  approach. 

Duke  Senior.   Why,  how  now,  monsieur !  what  a  life  is 
this. 
That  your  poor  friends  must  woo  your  company  !  10 

What,  you  look  merrily  ! 

12.  said:  done.    So  in  /  Henry  IV,  V,  iv,  75:  "Well  said,  Hal." 

5.  compact  of  jars:  composed  of  discords.    A  pun  upon  'jars.' 

6.  If  things  are  going  so  contrary  to  their  natural  order,  the  music 
of  the  spheres  will  soon  be  untuned.    Cf.  Twelfth  Night,  III,  i,  121. 


54  THE   NEW  HUDSON   SHAKESPEARE     act  ii 

Jaques.   a  fool,  a  fool !  —  I  met  a  fool  i'  the  forest, 
A  motley  fool ;  —  a  miserable  world  !  — 
As  I  do  live  by  food,  I  met  a  fool ; 

Who  laid  him  down  and  bask'd  him  in  the  sun,  15 

And  rail'd  on  Lady  Fortune  in  good  terms. 
In  good  set  terms,  and  yet  a  motley  fool. 
'  Good  morrow,  fool,'  quoth  I.    '  No,  sir,'  quoth  he, 
'  Call  me  not  fool  till  heaven  hath  sent  me  fortune  '  : 
And  then  he  drew  a  dial  from  his  poke,  20 

And,  looking  on  it  with  lack-lustre  eye, 
Says  very  wisely,  '  It  is  ten  o'clock  : 
Thus  we  may  see,'  quoth  he,  '  how  the  world  wags  : 
'T  is  but  an  hour  ago  since  it  was  nine ; 
And  after  one  hour  more  't  will  be  eleven  ;  25 

And  so,  from  hour  to  hour,  we  ripe  and  ripe, 
And  then,  from  hour  to  hour,  we  rot  and  rot ; 
And  thereby  hangs  a  tale.'    When  I  did  hear 
The  motley  fool  thus  moral  on  the  time. 
My  lungs  began  to  crow  like  chanticleer,  30 

That  fools  should  be  so  deep-contemplative  ; 

13.  A  motley  fool.  So  called  because  the  professional  fool  wore  a 
patchwork  or  parti-colored  dress.  The  old  sense  of  '  motley '  still 
lives  in  '  mottled.'    See  Skeat. 

19.  It  will  be  time  enough  to  call  me  fool  when  I  shall  have  got 
rich.  So  in  Ray's  Collection  0/  English  Proverbs :  "Fortune  favours 
fools,  or  fools  have  the  best  luck."  So,  too,  Ben  Jonson,  in  the  open- 
ing lines  of  the  Prologue  to  77/1?  Alchemist : 

Fortune,  that  favours  fools,  these  two  short  hours 
We  wish  away,  both  for  your  sakes  and  ours. 

20.  dial:  pocket  dial,  watch.  —  poke:  wallet.    Hence 'pocket.' 
29.  moral :  moralize.    But  Schmidt  says  it  is  probably  an  adjective, 

a  view  strengthened,  according  to  Furness,  by  the  preposition  'on.' 


SCENE  vii  AS   YOU   LIKE    IT  55 

And  I  did  laugh  sans  intermission 
An  hour  by  his  dial.  —  O  noble  fool  ! 
A  worthy  fool !    Motley  's  the  only  wear. 

Duke  Senior.   What  fool  is  this?  35 

Jaques.    O  worthy  fool !    One  that  hath  been  a  courtier ; 
And  says,  if  ladies  be  but  young  and  fair, 
They  have  the  gift  to  know  it ;  and  in  his  brain, 
Which  is  as  dry  as  the  remainder  biscuit 
After  a  voyage,  he  hath  strange  places  cramm'd  4° 

With  observation,  the  which  he  vents 
In  mangled  forms.  —  O  that  I  were  a  fool ! 
I  am  ambitious  for  a  motley  coat. 

Duke  Senior.   Thou  shalt  have  one. 

Jaques.  It  is  my  only  suit ; 

Provided  that  you  weed  your  better  judgments  45 

32.  sans.  "  The  French  preposition  j-rt^j  (from  Lat.j?«^,  as 'certes' 
from  certe)  was  actually  adopted  for  a  time  as  an  English  word."  — 
Clar.    So  in  1.  165  ;   The  Tempest,  I,  ii,  97  ;   Othello,  I,  iii,  64,  etc. 

39.  So  Ben  Jonson,  in  the  Introduction  to  Every  Alan  Out  of  His 
Humour : 

And,  now  and  then,  breaks  a  dry  biscuit  jest, 
Which,  that  it  may  more  easily  be  chewed, 
He  steeps  in  his  own  laughter. 

And  in  Batman  iippon  Bartholeine,  quoted  by  W.  Aldis  Wright,  we 
have :  "  Good  desposition  of  the  braine  and  euill  is  knowne  by  his 
deedes,  for  if  the  substaunce  of  the  braine  be  soft,  thinne,  and  cleere  : 
it  receiueth  lightly  the  feeling  &  printing  of  shapes,  and  lykenesses 
of  thinges.  He  that  hath  such  a  braine  is  swift,  and  good  of  perseuer- 
ance  and  teaching.  When  it  is  contrarye,  the  braine  is  not  softe : 
eyther  if  he  be  troubled,  he  that  hath  such  a  braine  receiueth  slowly 
the  feeling  and  printing  of  thinges  :  But  neuerthelesse  when  hee  hath 
taken  and  receiued  them,  he  keepeth  them  long  in  minde.  And  that 
is  signe  and  token  of  drinesse."  Cf.  Troihis  and  Cressida,  I,  iii,  329. 
44.  suit.    This  pun  is  repeated  in  IV,  i,  80. 


56  THE   NEW  HUDSON   SHAKESPEARE     act  ii 

Of  all  opinion  that  grows  rank  in  them 

That  I  am  wise.    I  must  have  liberty 

Withal,  as  large  a  charter  as  the  wind, 

To  blow  on  whom  I  please ;  for  so  fools  have ; 

And  they  that  are  most  galled  with  my  folly,  50 

They  most  must  laugh.    And  why,  sir,  must  they  so? 

The  '  why  '  is  plain  as  way  to  parish  church  : 

He  that  a  fool  doth  very  wisely  hit 

Doth  very  foolishly,  although  he  smart, 

Seem  senseless  of  the  bob:  if  not,  55 

The  wise  man's  folly  is  anatomized 

Even  by  the  squandering  glances  of  the  fool. 

Invest  me  in  my  motley ;  give  me  leave 

To  speak  my  mind,  and  I  will  through  and  through 

Cleanse  the  foul  body  of  the  infected  world,  60 

If  they  will  patiently  receive  my  medicine. 

Duke  Senior.  Fie  on  thee  !  I  can  tell  what  thou  wouldst  do. 

Jaques.    What,  for  a  counter,  would  I  do  but  good  ? 

Duke  Senior.  Most  mischievous  foul  sin,  in  chiding  sin  : 
For  thou  thyself  hast  been  a  libertine,  65 

55.   Seem   senseless    Ff  |  Not   to       to  seem  senseless  Collier  Dyce. 
seem  senseless  Theobald  Camb  |  But  56.  wise  man's  |  Wise-man's  Fi. 

48-49.  "  The  wind  bloweth  where  it  listeth."    Cf.  Henry  V,  I,  i,  48. 

55.  To  complete  the  sense  and  the  metre  Theobald  added  '  Not 
to '  to  the  beginning  of  the  line.  Ingleby  and  Furness  sustain  the 
P'olio  reading.  The  meaning  is  :  He  who  feels  himself  hit  must  seem 
not  to  feel  it ;  and  if  he  does  not  so  seem,  he  simply  exposes  him- 
self.—  senseless  of:  insensible  to.  —  bob:  rap,  taunt.    See  Murray. 

57.  squandering  glances  :  random  thrusts. 

63.  A  'counter'  was  a  small  disk  of  metal,  of  little  value,  used  in 
making  calculations.  So  in  The  Winter's  Tale,  IV,  iii,  38:  "What 
comes  the  wool  to  ?  .  .  ,    I  cannot  do  't  without  counters." 


SCENE  VII  AS  YOU   LIKE   IT  57 

As  sensual  as  the  brutish  sting  itself ; 
And  all  the  embossed  sores  and  headed  evils, 
That  thou  with  license  of  free  foot  hast  caught, 
Wouldst  thou  disgorge  into  the  general  world. 

Jaques.    Why,  who  cries  out  on  pride,  70 

That  can  therein  tax  any  private  party? 
Doth  it  not  flow  as  hugely  as  the  sea, 
Till  that  the  weary  very  means  do  ebb? 
What  woman  in  the  city  do  I  name, 

When  that  I  say,  the  city-woman  bears  75 

The  cost  of  princes  on  unworthy  shoulders? 
Who  can  come  in  and  say  that  I  mean  her. 
When  such  a  one  as  she  such  is  her  neighbour? 
Or  what  is  he  of  basest  function. 

That  says  his  bravery  is  not  on  my  cost,  80 

Thinking  that  I  mean  him,  but  therein  suits 
His  folly  to  the  mettle  of  my  speech? 
There  then;  how  then?  what  then?    Let  me  see  wherein 
My  tongue  hath  wrong'd  him  :   if  it  do  him  right. 
Then  he  hath  wrong'd  himself ;  if  he  be  free,  85 

73.  weary  very  means  F4  Camb  |  very  means  Singer  Wright  |  very  very 
wearie  verie  meanes  F1F2  |  wearer's        means  Pope. 

67.  embossed  :  protuberant.  Cf.  King  Lear,  II,  iv,  227.  —  headed  : 
come  to  a  head.    Cf.  Richard  II,  V,  i,  58. 

71.  tax-  accuse.    So  in  1.  86.    See  note  on  'taxation,'  p.  15, 1.  75. 

73.  In  previous  editions  of  Hudson's  Shakespeare,  Singer's  emen- 
dation 'wearer's'  for  the  'wearie'  of  First  Foho  was  adopted. 
'  Wearer's '  seems  appropriate,  as  Jaques  is  referring  to  the  pride  of 
dress,  but  the  original  text  is  intelligible  as  it  stands. 

75.  city-woman:  citizen's  wife.    A  case  of  "aping  their  betters." 

79.  function:  occupation,    'boxn  Measure  for  AIeasiire,\\\,\\,  2(0,. 

80.  bravery:  finery,  'bom.  Measure  for  Measure,\,\\\,\o\  Sonttets, 
xxxjv,  4. 


58  THE   NEW  HUDSON    SHAKESPEARE     act  H 

Why,  then  my  taxing  hke  a  wild-goose  flies, 
Unclaim'd  of  any  man.  —  But  who  comes  here? 

Enter  Orlando,  zvith  his  szvord  drawn 

Orlando.    Forbear,  and  eat  no  more  ! 

Jaques.  Why,  I  have  eat  none  yet. 

Orlando.    Nor  shalt  not,  till  necessity  be  served. 

Jaques.    Of  what  kind  should  this  cock  come  of?  90 

Duke  Senior.  Art  thou  thus  bolden'd,  man,  by  thy  distress, 
Or  else  a  rude  despiser  of  good  manners, 
That  in  civility  thou  seem'st  so  empty? 

Orlando.  You  touch'd  my  vein  at  first :  the  thorny  point 
Of  bare  distress  hath  ta'en  me  from  the  show  95 

Of  smooth  civility  :  yet  am  I  inland  bred. 
And  know  some  nurture.    But  forbear,  I  say : 

87.  comes  F2  I  come  Fi. —  Scene  Enter  ...  I  Enter  Orlando  Ff. 

VIII  Pope.  95.  hath  Fi  |  that  hath  F2F3F4. 

90.  For  other  e.xamples  of  this  doubling  of  the  preposition,  a  com- 
mon Elizabethan  usage,  see  1.  138  of  this  scene.  —  should.  Shake- 
speare often  has  'should'  in  questions  where  'can'  or  'is'  would  be 
used  to-day. 

93.  civility:  courtesy.    So  in  The  Merchant  of  Venice,  II,  ii,  204. 

94.  vein  :  humor.    So  in  A  Midsummer  A'^ighfs  Dream,  III,  ii,  82. 

96.  inland  bred.  '  Inland  '  is  often  opposed  to  '  upland,'  which  in 
Middle  English  (as  in  modern  Scotch)  is  often  used  in  the  sense  of 
'  rustic,'  '  uncivilized,'  as  in  Henryson's  The  Uplandis  Motes  and  the 
Burges  Mous,  or  Sir  David  Lyndsay's 

Then  sail  I  swear  I  made  it  but  in  mowes, 
For  upland  lassies  that  keep  kye  and  yowes. 

Shakespeare's  use  of  'inland'  (cf.  Ill,  ii,  325)  may  have  grown  from 
the  fact  that  up  to  the  Elizabethan  time  all  the  mainsprings  of  cul- 
ture in  England  were  literally  inland,  remote  from  the  sea. 

97.  nurture:  education, good  breeding.  Ci.  The  Tem/>est, IV, \,  iSg. 


SCENE  VII  AS   YOU   LIKE   IT  59 

He  dies  that  touches  any  of  this  fruit 
Till  I  and  my  affairs  are  answered. 

Jaques.   And   you  will  not  be  answer'd  with  reason,  I 
must  die.  100 

Duke  Senior.    What  would  you  have?    Your  gentleness 
shall  force, 
More  than  your  force  move  us  to  gentleness. 

Orlando.    I  almost  die  for  food  ;  and  let  me  have  it. 

Duke  Senior.  Sit  down  and  feed,  and  welcome  to  our  table. 

Orlando.    Speak  you  so  gently  ?    Pardon  me,  I  pray  you  : 
I  thought  that  all  things  had  been  savage  here  ;  106 

And  therefore  put  I  on  the  countenance 
Of  stern  commandment.    But  whate'er  you  are, 
That  in  this  desert  inaccessible. 

Under  the  shade  of  melancholy  boughs,  no 

Lose  and  neglect  the  creeping  hours  of  time ; 
If  ever  you  have  look'd  on  better  days. 
If  ever  been  where  bells  have  knoU'd  to  church, 
If  ever  sat  at  any  good  man's  feast, 

If  ever  from  your  eyelids  wip'd  a  tear,  115 

And  know  what  't  is  to  pity  and  be  pitied. 
Let  gentleness  my  strong  enforcement  be  : 
In  the  which  hope  I  blush,  and  hide  my  sword. 

Duke  Senior.   True  is  it  that  we  have  seen  better  days, 
And  have  with  holy  bell  been  knoll'd  to  church,  120 

And  sat  at  good  men's  feasts,  and  wip'd  our  eyes 
Of  drops  that  sacred  pity  hath  engender'd  : 
And  therefore  sit  you  down  in  gentleness, 

icx).  And  Ff  I  An  Capell  1  If  Pope.  iii.  Lose  F4  |  Loose  F1F2F3. 

100.  And  :  if.    For  'and'  in  this  sense,  see  Murray,  and  Abbott,  §  loi. 


6o  THE   NEW  HUDSON   SHAKESPEARE     act  n 

And  take  upon  command  what  help  we  have 

That  to  your  wanting  may  be  minister'd.  125 

Orlando.    Then  but  forbear  your  food  a  little  while, 
Whiles,  like  a  doe,  I  go  to  find  my  fawn 
And  give  it  food.    There  is  an  old  poor  man, 
Who  after  me  hath  many  a  weary  step 
Limp'd  in  pure  love  :   till  he  be  first  suffic'd,  130 

Oppress'd  with  two  weak  evils,  age  and  hunger, 
I  will  not  touch  a  bit. 

Duke  Senior.  Go  find  him  out, 

And  we  will  nothing  waste  till  you  return. 

Orlando.    I   thank  ye ;   and  be  bless'd  for  your  good 
comfort !  [j5"jt7V] 

Duke  Senior.  Thou  see'st  we  are  not  all  alone  unhappy  : 
This  wide  and  universal  theatre  136 

Presents  more  woeful  pageants  than  the  scene 
Wherein  we  play  in. 

Jaques.  All  the  world  's  a  stage, 

And  all  the  men  and  women  merely  players  : 
They  have  their  exits  and  their  entrances ;  140 

And  one  man  in  his  time  plays  many  parts, 
His  acts  being  seven  ages.    At  first  the  infant, 

135.  Scene  IX  Pope.  142.  At  first  Ff  |  As,  first  Capell  Dyce. 

124.  And  take  upon  command.  Take  as  you  may  choose  to  order, 
at  your  will  and  pleasure.  In  Lodge's  Rosalynde  we  have  it  thus : 
"Gerismond  .  .  .  tooke  him  by  the  hand  and  badde  him  welcome, 
willing  him  to  sit  downe  in  his  place,  and  in  his  roome  not  onely  to 
eat  his  fill,  but  be  Lorde  of  the  feast." 

138.  All  the  world  's  a  stage.    See  Introduction,  p.  xiii. 

139.  In  the  First  Folio  there  is  a  comma  after  'women,'  which 
may  indicate  a  significant  pause  in  the  original  rendering  of  the  line. 

142.  His  acts  being  seven  ages.    See  Introduction,  p.  xiv. 


SCENE  VII  AS   YOU   LIKE   IT  6l 

Mewling  and  puking  in  the  nurse's  arms. 

Then  the  whining  schoolboy,  with  his  satchel 

And  shining  morning  face,  creeping  like  snail  145 

Unwillingly  to  school.    And  then  the  lover, 

Sighing  like  furnace,  with  a  woeful  ballad 

Made  to  his  mistress'  eyebrow.    Then  a  soldier. 

Full  of  strange  oaths,  and  bearded  like  the  pard, 

Jealous  in  honour,  sudden  and  quick  in  quarrel,  150 

Seeking  the  bubble  reputation 

Even  in  the  cannon's  mouth.    And  then  the  justice, 

In  fair  round  belly  with  good  capon  lin'd, 

With  eyes  severe  and  beard  of  formal  cut, 

Full  of  wise  saws  and  modern  instances;  155 

And  so  he  plays  his  part.    The  sixth  age  shifts 

Into  the  lean  and  slipper 'd  pantaloon. 

With  spectacles  on  nose  and  pouch  on  side. 

His  youthful  hose,  well  sav'd,  a  world  too  wide 

For  his  shrunk  shank;  and  his  big  manly  voice,  160 

Turning  again  toward  childish  treble,  pipes 

And  whistles  in  his  sound.    Last  scene  of  all, 

That  ends  this  strange  eventful  history, 

Is  second  childishness  and  mere  oblivion. 

Sans  teeth,  sans  eyes,  sans  taste,  sans  every  thing.  165 

144.  Then  Ff  |  And  then  Rowe.  148.  a  soldier  Ff  |  the  soldier  Dyce. 

149.  pard:  leopard.    In  Keats,  Lamia,  is  "freckled  like  a  pard." 

155.  saws :  sayings.  —  modern  instances  :  commonplace  examples. 
For  this  use  of  'modern,'  cf.  IV,  i,  6;  Macbeth,  IV,  iii,  170;  Antony 
and  Cleopatra,  V,  ii,  167. 

157.  pantaloon.  A  stereotyped  character  in  the  old  Italian  farces; 
it  represented  a  thin,  emaciated,  old  dotard  in  slippers. 

162.  his     its.    See  Abbott,  §  228. 


62  THE   NEW  HUDSON   SHAKESPEARE     act  ii 

Re-enter  Orlando,  with  Adam 

Duke  Senior.  Welcome.  Set  down  your  venerable  burthen, 
And  let  him  feed. 

Orlando.    I  thank  you  most  for  him. 

Adam.  So  had  you  need  ; 

I  scarce  can  speak  to  thank  you  for  myself. 

Duke  Senior.  Welcome ;  fall  to  :  I  will  not  trouble  you 
As  yet,  to  question  you  about  your  fortunes. —  171 

Give  us  some  music ;  and,  good  cousin,  sing. 

Song 
Amiens.    Blow,  blow,  thou  winter  wind, 
Thou  art  not  so  unkind 

As  man's  ingratitude  ;  175 

Thy  tooth  is  not  so  keen, 
Because  thou  art  not  seen. 

Although  thy  breath  be  rude. 
Heigh-ho!  sing,  heigh-ho!  unto  the  green  holly: 
Most  friendship  is  feigning,  most  loving  mere  folly:  iSo 
Then,  heigh-ho,  the  holly  ! 
This  life  is  most  jolly. 

166.  Scene  X  Pope.  I  Because    the     heart's     not     seen 

174-177.  Two  lines  in  Ff.  Farmer    conj.   I    Because    thou    art 

177.  Because  thou  art  not  seen  |  foreseen  Staunton  conj. 

Thou  causest  not  that  teen  Ilannier  i8i.  Then,  Rowe  |  the  Ff. 

174.  unkind:  unnatural.    So  '  unkind  daughters  '  in  AVz/rrZ^'ar,  III, 

iv,  73- 

177.  In  previous  editions  of  Hudson's  Shakespeare,  Staunton's 
conjecture  was  adopted  as  an  emendation  of  the  Folio  text.  The 
best  defense  of  the  Folio  text  is  Harness's  note  :  "  I  never  perceived 
any  difficulty  till  it  was  pointed  out  by  the  commentators,  but  sup- 
posed the  words  to  mean  that  the  inclemency  of  the  wind  was  not  so 
severely  felt  as  the  ingratitude  of  man,  because  the  foe  is  unseen, 
i.e.  unknown,  and  the  sense  of  injury  is  not  heightened  by  the 
recollection  of  any  former  kindness." 


SCENE  VII  AS   YOU   LIKE    IT  63 

Freeze,  freeze,  thou  bitter  sky, 
That  dost  not  bite  so  nigh 

As  benefits  forgot:  185 

Though  thou  the  waters  warp, 
Thy  sting  is  not  so  sharp 

As  friend  remember'd  not. 
Heigh-ho!  sing,  etc.  189 

Duke  Senior.  If  that  you  were  the  good  Sir  Rowland's  son, 
As  you  have  whisper'd  faithfully  you  were, 
And  as  mine  eye  doth  his  effigies  witness 
Most  truly  limn'd  and  living  in  your  face, 
Be  truly  welcome  hither  :   I  am  the  Duke 
That  lov'd  your  father  :  the  residue  of  your  fortune,         195 
Go  to  my  cave  and  tell  me.    Good  old  man, 
Thou  art  right  welcome  as  thy  master  is. 
Support  him  by  the  arm.    Give  me  your  hand, 
And  let  me  all  your  fortunes  understand.  \_jExeutit~\ 

183-184,  186-187.  One  line  in  Ff.  197.  master  |  masters  Fi. 

186.  warp.  W.  Aldis  Wright,  holding  that  in  'warp'  there  are  ety- 
mologically  the  two  ideas  of  throwing  and  turning,  says :  "  We  may 
therefore  understand  by  the  warping  of  the  waters,  either  the  change 
produced  in  them  by  the  action  of  the  frost,  or  the  bending  and  ruffling 
of  their  surface  caused  by  the  wintry  wind."  But  in  Elizabethan 
English  the  verb  '  warp '  was  often  used  in  the  sense  of  'weave.'  For 
example,  —  literally,  in  Sylvester's  Du  Bartas's  Battle  of  Ivry : 

This  Gold-grownd  Web  to  weave,  to  warp,  to  spin ; 
figuratively,  in  Sternhold's  version  of  the  Psalms : 
While  he  doth  mischief  warp. 

The  appropriateness  of  the  'weave'  figure  may  be  seen  in  the  fine 
network  appearance  which  water  assumes  in  the  first  stages  of  crys- 
tallization. Propertius  has  a  line  containing  a  similar  figure  :  Africus 
in  glacieni  frigore  itectit  aquas. 

187-188.  Contrast  with  this  the  close  of  Wordsworth's  Simon  Lee. 


ACT  III 

Scene  I.    A  room  in  the  palace 
Enter  Duke  Frederick,  Oliver,  Lords,  and  Attendants 

Duke   Frederick.     Not  see    him    since?    Sir,  sir,  that 
cannot  be  : 
But  were  I  not  the  better  part  made  mercy, 
I  should  not  seek  an  absent  argument 
Of  my  revenge,  thou  present.    But  look  to  it : 
Find  out  thy  brother,  wheresoe'er  he  is ;  5 

Seek  him  with  candle  ;  bring  him  dead  or  living 
Within  this  twelvemonth,  or  turn  thou  no  more 
To  seek  a  living  in  our  territory. 
Thy  lands  and  all  things  that  thou  dost  call  thine 
Worth  seizure  do  we  seize  into  our  hands,  lo 

Till  thou  canst  quit  thee  by  thy  brother's  mouth 
Of  what  we  think  against  thee. 

Oliver.    O  that  your  Highness  knew  my  heart  in  this  ! 
I  never  lov'd  my  brother  in  my  life. 

Duke  Frederick.    More  villain  thou. — Well,  push  him 
out  of  doors  ;  15 

And  let  ray  officers  of  such  a  nature 

3.  seek  Fi  |  see  FoFaF^. 

2.  the  better  part:  for  the  greater  part.    See  Abbott,  §  202. 

3.  argument:  suljject.    Compare  the  use  of  '  argument '  in  I,  ii,  259. 
6.  Seek  him  with  candle.  Cf.  Zcp/iattia/i,  i,  12:  Luke,  xv,  18. 

II.  quit:   arquit.    So  in  Henry  V,  II,  ii,  166. 

64 


SCENE  II  AS  YOU   LIKE   IT  65 

Make  an  extent  upon  his  house  and  lands  : 

Do  this  expediently  and  turn  him  going.  [^JSxeunf'j 

Scene  II.     The  forest 
Enter  Orlando,  with  a  paper 

Orlando.    Hang  there,  my  verse,  in  witness  of  my  love  : 

And  thou,  thrice-crowned  queen  of  night,  survey 
With  thy  chaste  eye,  from  thy  pale  sphere  above, 

Thy  huntress'  name,  that  my  full  life  doth  sway. 
O  Rosalind  !  these  trees  shall  be  my  books,  5 

And  in  their  barks  my  thoughts  I  '11  character ; 
That  every  eye  which  in  this  forest  looks 

17.  extent.  A  law  phrase,  thus  explained  by  Blackstone  :  "  The 
process  hereon  is  usually  called  an  extent  or  extendi  facias,  because 
the  Sheriff  is  to  cause  the  lands,  etc.,  to  be  appraised  to  their  full 
extended  value,  before  he  delivers  them  to  the  plaintiff." 

18.  expediently:  expeditiously.  So  'expedient'  in  Richard  II,  I, 
iv,  39- 

2.  thrice-crowned.  Luna,  Selene,  or  Cvnthia,  in  the  heavens; 
Proserpina,  Persephone,  or  Hecate,  in  the  underworld ;  Diana,  or 
Artemis,  on  earth  —  such  were  the  names  and  realms  of  the  "  queen 
of  night,"  as  they  are  found  in  classical  mythology.  Johnson  quotes 
the  famous  memorial  couplet : 

Terret,  lustrat,  agit ;  Proserpina,  Luna,  Diana  ; 
Ima,  supema,  feras ;  sceptro,  fulgore,  sagittis. 

Cf.  Vergil's  ALneid,  IV,  511.     In  Chapman's  Ifymnns  in  Cynthiam 
{The  Shadow  of  Night,  1594)  occurs  the  highly  poetical  passage  : 

Nature's  bright  eye-sight,  and  the  night's  fair  soul, 
That  with  thy  triple  forehead  dost  control 
Earth,  seas,  and  hell. 

Cf.  A  Midsummer  Night^s  Dream,  V,  i,  391. 

6.  character:  write.  Writing  love-verses  on  the  bark  of  trees  is 
an  old  pastoral  convention.    Cf.  Vergil's  Eclogues,  V,  13-14. 


66  THE   NEW  HUDSON  SHAKESPEARE   act  hi 

Shall  see  thy  virtue  witness'd  everywhere. 
Run,  run,  Orlando  ;  carve  on  every  tree  9 

The  fair,  the  chaste,  and  unexpressive  she.  [^.r//] 

Enter  Corin  and  Touchstone 

CoRiN.  And  how  like  you  this  shepherd's  life,  Master 
Touchstone  ?  1 2 

Touchstone.  Truly,  shepherd,  in  respect  of  itself,  it  is  a 
good  life ;  but  in  respect  that  it  is  a  shepherd's  life,  it  is 
naught.  In  respect  that  it  is  solitary,  I  like  it  very  well ; 
but  in  respect  that  it  is  private,  it  is  a  very  vile  life.  Now, 
in  respect  it  is  in  the  fields,  it  pleaseth  me  well ;  but  in 
respect  it  is  not  in  the  court,  it  is  tedious.  As  it  is  a  spare 
life,  look  you,  it  fits  my  humour  well ;  but  as  there  is  no 
more  plenty  in  it,  it  goes  much  against  my  stomach.  Hast 
any  philosophy  in  thee,  shepherd?  21 

Corin.  No  more  but  that  I  know,  the  more  one  sickens 
the  worse  at  ease  he  is ;  and  that  he  that  wants  money, 

II.  Scene  III  Pope.  16.  vile  |  vild  Ff. 

10.  unexpressive  :  inexpressible.    Milton  twice  in  his  earlier  poems 

uses  this  word  in  a  similar  way  —  the  active  form  with  the  passive 

sense  * 

Harping  in  loud  and  solemn  quire, 

With  unexpressive  notes  to  Heav'n's  new-born  Heir. 

Hymn  on  the  Nativity,  ii6. 

And  hears  the  unexpressive  nuptial  song.    J^yridas   176 

10.  she.  In  Sonnets,  cxx.\,  Shakespeare  uses  '  she '  for  '  woman.' 
See  Abbott,  §  224.  Cf.  Ttvelfth  Night,  I,  v,  259  ;  Cynnbeline,  I,  iii,  29 ; 
The  Taming  of  the  Shrezv,  III,  ii,  236.  Crashaw,  in  Wishes  {To  His 
Supposed  Mistress),  has 

Whoe'er  she  be 

Tiiat  not  impossible  she 

That  shall  command  my  licart  and  me. 


SCENE  II  AS   YOU    LIKE    IT  ^J 

means,  and  content  is  without  three  good  friends  ;  that 
the  property  of  rain  is  to  wet  and  fire  to  burn  ;  that  good 
pasture  makes  fat  sheep ;  and  that  a  great  cause  of  the 
night  is  lack  of  the  sun  ;  that  he  that  hath  learn'd  no  wit 
by  nature  nor  art  may  complain  of  good  breeding,  or  comes 
of  a  very  dull  kindred.  29 

Touchstone.  Such  a  one  is  a  natural  philosopher.  Wast 
ever  in  court,  shepherd? 

CoRiN.    No,  truly. 

Touchstone.   Then  thou  art  damn'd. 

CoRiN.   Nay,  I  hope, —  34 

Touchstone.  Truly,  thou  art  damn'd  ;  like  an  ill-roasted 
egg,  all  on  one  side. 

CoRiN.    For  not  being  at  court?    Your  reason.  Zi 

Touchstone.  Why,  if  thou  never  wast  at  court,  thou 
never  saw'st  good  manners  ;  if  thou  never  saw'st  good  man- 
ners, then  thy  manners  must  be  wicked ;  and  wickedness  is 
sin,  and  sin  is  damnation.  Thou  art  in  a  parlous  state, 
shepherd.  42 

CoRiN.  Not  a  whit,  Touchstone  :  those  that  are  good 
manners  at  the  court  are  as  ridiculous  in  the  country  as  the 

43.  Touchstone  Ff  |  Mr.  Touchstone  Capell.  —  are  FiFa  |  have  F3F4. 

28.  may  complain  of  good  breeding :  may  complain  of  the  lack  of 
good  breeding.  Here,  as  in  II,  iv,  69;  II,  v,  45;  II,  vi,  i,  the  expres- 
sion is  elliptical.  The  usage  is  common  in  Elizabethan  literature. 
In  Johnson's  Tlie  Sad  Shepherd,  Lionel  says  of  Amie  :  "  She  's  sick 
of  the  young  shepherd  that  bekist  her";  i.e.  'sick  for  want  of  him. 

30.  '  Natural '  being  a  common  term  for  a  fool,  Touchstone  in  all 
probability  is  punning  on  the  word. 

41.  '  Parlous'  is  a  dialectic  form  of  'perilous,'  sometimes  used  with 
a  dash  of  humor,  as  appears  to  be  the  case  in  this  instance.  "  The 
spelling  represents  the  pronunciation."  —  Clar. 


68  THE  NEW  HUDSON   SHAKESPEARE    act  hi 

behaviour  of  the  country  is  most  mockable  at  the  court- 
You  told  me  you  salute  not  at  the  court,  but  you  kiss  your 
hands  :  that  courtesy  would  be  uncleanly,  if  courtiers  were 
shepherds.  4S 

Touchstone.    Instance,  briefly  ;  come,  instance. 

CoRiN.  Why,  we  are  still  handUng  our  ewes ;  and  their 
fells,  you  know,  are  greasy.  51 

Touchstone.  Why,  do  not  your  courtier's  hands  sweat? 
and  is  not  the  grease  of  a  mutton  as  wholesome  as  the 
sweat  of  a  man  ?  Shallow,  shallow.  A  better  instance,  I  say  ; 
come.  55 

CoRiN.    Besides,  our  hands  are  hard. 

Touchstone.  Your  lips  will  feel  them  the  sooner. 
Shallow  again.    A  more  sounder  instance,  come.  58 

Corin.  And  they  are  often  tarr'd  over  with  the  surgery 
of  our  sheep ;  and  would  you  have  us  kiss  tar  ?  The  court- 
ier's hands  are  perfum'd  with  civet.  61 

Touchstone.  Most  shallow  man  !  thou  worms-meat,  in 
respect  of  a  good  piece  of  flesh  indeed  !  Learn  of  the  wise, 
and  perpend  :  civet  is  of  a  baser  birth  than  tar,  the  very 
uncleanly  flux  of  a  cat.    Mend  the  instance,  shepherd.      65 

53.  a  mutton  Fi  1  mutton  F3F4.  63.  flesh   indeed  !  |  flesh,  indeed ! 

Theobald. 

46.  but  you  kiss  :  without  kissing.    See  Abbott,  §  i  iS. 

51.  The  original  meaning  of  '  fell '  is  '  skin'  or  '  hide  of  an  animal.' 
Thus  the  word  is  used  by  Chaucer  {Troilus,  I,  91),  and  thus  Shake- 
speare uses  the  word  in  A'iiiff  Lear,  V ,\ii.  While  in  AfaLbeth,'V,\,  11, 
we  have  the  expression  '  fell  of  hair,'  the  Elizabethan  usage  dis- 
criminated between  'fleece 'and  'fell*;  as  in  ]o\\son's  Discoz'e7-ies: 
"A  prince  is  the  pastor  of  the  people.  He  ought  to  shear,  not  to 
flea  (flay)  his  sheep;  to  take  their  fleeces,  not  their  fells." 

58.  more  sounder.    See  Abbott,  §  11.    Pope  omitted  'more.' 

64.  perpend  :  consider.    Cf.  Hamlet,  II,  ii,  105. 


SCENE  II  AS   YOU   LIKE   IT  69 

CoRiN.    You  have  too  courtly  a  wit  for  me :   I  '11  rest. 

Touchstone.  Wilt  thou  rest  damn'd?  God  help  thee, 
shallow  man  !    God  make  incision  in  thee  !  thou  art  raw.    68 

CoRiN.  Sir,  I  am  a  true  labourer:  I  earn  that  I  eat,  get 
that  I  wear,  owe  no  man  hate,  envy  no  man's  happiness, 
glad  of  other  men's  good,  content  with  my  harm ;  and  the 
greatest  of  my  pride  is,  to  see  my  ewes  graze  and  my  lambs 
suck.  73 

Touchstone.  That  is  another  simple  sin  in  you,  to  bring 
the  ewes  and  the  rams  together.  If  thou  be'st  not  damn'd 
for  this,  the  devil  himself  will  have  no  shepherds ;  I  cannot 
see  else  how  thou  shouldst  'scape.  77 

Corin.  Here  comes  young  Master  Ganymede,  my  new 
mistress's  brother. 

Enter  Rosalind,  readmg  a  paper 

Rosalind.    From  the  east  to  western  Ind,  80 

No  jewel  is  like  Rosalind. 
Her  worth,  being  mounted  on  the  wind, 
Through  all  the  world  bears  Rosalind. 

77.  else  I  F3F4  omit.  80.  .  .  .  reading  a  paper  Capell 

78.  young  I  F3F4  omit  —  Master         |  Ff  omit.  —  Scene  IV  Pope. 
I  Mr.  Ff. 

68.  The  allusion  is,  apparently,  to  the  practice  of  surgeons  who 
used  cuttings  and  burnings  for  the  heaUng  of  a  disease  called  '  the 
simples ' ;  a  quibble  being  implied  withal  between  '  simples '  and 
'simpleton.'  His  being  'raw'  is  the  reason  in  Touchstone's  logic 
why  incision  should  be  made.  Bear  in  mind  that  'raw'  is  used  in 
the  double  sense  of  '  green  '  and  '  sore,'  and  perhaps  this  will  render 
the  passage  clear  enough.  In  this  connection  it  may  be  interesting 
to  recall  Sydney  Smith's  remark  about  the  necessity  of  a  surgical 
operation  before  a  joke  can  be  got  into  the  heads  of  some  people  I 


70  THE  NEW  HUDSON   SHAKESPEARE    act  hi 

All  the  pictures  fairest  lin'd 

Are  but  black  to  Rosalind.  85 

Let  no  face  be  kept  in  mind 

But  the  fair  of  Rosalind. 

Touchstone.  I  '11  rhyme  you  so  eight  years  together, 
dinners  and  suppers  and  sleeping-hours  excepted  :  it  is  the 
right  butter-women's  rank  to  market.  90 

Rosalind.    Out,  fool ! 

Touchstone.    For  a  taste  : 

If  a  hart  do  lack  a  hind, 
Let  him  seek  out  Rosalind. 
If  the  cat  will  after  kind,  95 

'  So  be  sure  will  Rosalind. 

84.  lin'd  I  Linde     F1F2F3  I  Lind       fair  F3F4  |  the  face  of  Rowe. 
F4  I  lin'd  Pope  |  limn'd  Capell.  90.  rank  to  F3F4  |  ranke  to  F1F2 

87.  the  fair   of    FiF-2  I  tlie  most         |  rate  to  Hanmer  (see  below). 

84.  lin'd:  drawn.    "  That  is,  most  fairly  delineated."  — Steevens. 

87.  fair:  beauty.    So  in  Sonnets,  xvi,  11  ;  lxxxiii,  2. 

90.  rank  to.  For  this,  the  Folio  reading,  Crosby's  conjecture, 
'  rack  to,'  was  substituted  in  previous  editions  of  Hudson's  Shake- 
speare. W.  Aldis  Wright  thinks  '  rack  '  the  proper  word,  and  justi- 
fies the  conjecture  by  a  quotation  from  Cotgrave,  in  which  '  rack  ' 
is  used  as  synonymous  with  '  amble.'  But  if  '  rank  '  is  taken  in  the 
sense  of  'row'  (cf.  'rank  of  osiers,'  IV,  iii,  79),  there  is  no  reason 
why  the  I<"olio  reading  should  not  be  retained.  The  meaning  of 
the  expression  would  thus  be.  The  lines  follow  one  after  another, 
like  butter-women  in  a  row  jog-trotting  to  market.  The  habit  of 
nicknaming  popular  verse  forms  was  common  in  Elizabethan  literary 
coteries.  For  e.xample,  the  name  '  Poulter's  measure'  was  given  to 
alternating  Alexandrines  and  sejitenaries  :  "The  commonest  sort  of 
verse  which  we  use  now  adayes  I  know  not  certainly  howe  to  name 
it,  unlesse  I  should  say  that  it  doth  consist  of  Poulters  measure, 
which  giveth  xii.  for  one  dozen  and  xiiii.  for  another."  —  Gascoigne, 
Notes  0/  Instniction,  1575. 


SCENE  II  AS   YOU    LIKE    IT  71 

Winter  garments  must  be  lined, 

So  must  slender  Rosalind. 

They  that  reap  must  sheaf  and  bind ; 

Then  to  cart  with  Rosalind.  100 

Sweetest  nut  hath  sourest  rind, 

Such  a  nut  is  Rosalind. 

He  that  sweetest  rose  will  find 

Must  find  love's  prick  and  Rosalind.  104 

This  is  the  very  false  gallop  of  verses  :  why  do  you  infect 
yourself  with  them? 

Rosalind.    Peace,  you  dull  fool !  I  found  them  on  a  tree. 

Touchstone.   Truly,  the  tree  yields  bad  fruit.  108 

Rosalind.  I  '11  graff  it  with  you,  and  then  I  shall  graff  it 
with  a  medlar  :  then  it  will  be  the  earliest  fruit  i'  the  coun- 
try ;  for  you  '11  be  rotten  ere  you  be  half  ripe,  and  that 's  the 
right  virtue  of  the  medlar.  112 

Touchstone.  You  have  said  ;  but  whether  wisely  or  no, 
let  the  forest  judge. 

97.  Winter  F3F4  |  Wintred  F1F2.  loi.  nut  F1F2  I  meat  F3F4. 

105.  false  gallop.  This  expression  is  still  used  in  certain  districts 
to  describe  the  action  of  a  horse  which  in  galloping  lifts  the  wrong 
foot  first.  Malone  quotes  Nash's  Apologie  of  Piei-ce  Peiinilesse  (1593): 
"  I  would  trot  a  false  gallop  through  the  rest  of  his  ragged  Verses, 
but  that,  if  I  should  retort  his  rime  dogrell  aright,  I  must  make  my 
verses  (as  he  doth  his)  run  hobling,  like  a  Brewer's  Cart  upon  the 
stones,  and  observe  no  length  in  their  feet." 

109.  graff.  The  form  '  graft '  is  a  corruption  of  '  graffed.' 
no.  The  medlar  is  one  of  the  latest  fruits,  being  uneatable  till  it 
has  grown  soft  or  mellow.  Moreover,  though  the  latest  of  fruits  to 
ripen,  it  is  one  of  the  earliest  to  rot.  Does  RosaHnd  mean  that 
when  the  tree  is  graffed  with  Touchstone,  its  fruit  will  rot  earlier 
than  ever?  The  obvious  pun  on  'meddler'  is  found  also  in  Timofi 
of  Athens,  IV,  iii,  305-309. 


72  THE  NEW  HUDSON   SHAKESPEARE   act  hi 

Enter  Celia,  reading  a  paper 

Rosalind.   Peace!  115 

Here  comes  my  sister,  reading  :  stand  aside. 
Celia.    \_Reads'\ 

Why  should  this  desert  be  ? 

For  it  is  unpeopled  ?    No ; 
Tongues  I  '11  hang  on  every  tree, 

That  shall  civil  sayings  show:  120 

Some,  how  brief  the  life  of  man 

Runs  his  erring  pilgrimage, 
That  the  stretching  of  a  span 

Buckles  in  his  sum  of  age ; 
Some,  of  violated  vows  125 

'Twixt  the  souls  of  friend  and  friend : 
But  upon  the  fairest  boughs, 

Or  at  every  sentence  end. 
Will  I  Rosalinda  write  ; 

Teaching  all  that  read  to  know  130 

The  quintessence  of  every  sprite 

Heaven  would  in  little  show. 

115.  Scene  V  Pope.  a  desert  be  ?  Rowe. 

117.  desert  be  ?  |  Desert  bee,  Fi  |  131.  The  FiFo  I  This  F3F4. 

118.  For :  because.  So  in  The Mercliant  of  Venice,  I,  ill,  43.  '  For '  in 
this  sense  is  an  elliptical  form  of  'for  the  reason  that.'  Hence  'for  that.' 

120.  civil  sayings:  sayings  of  civilized  life.  'Civil'  may  here  be 
used  as  when  we  say  '  civil '  wisdom  and  '  civil '  life,  in  opposition 
to  a  solitary  state.    Or  it  may  mean  '  grave,'  '  solemn.' 

122.  erring  •  wandering.    Not  in  a  moral  sense  here. 

128.  sentence  end.    See  Abbott,  §  217. 

131.  quintessence.  The  fifth  essence  {t/iiiftta  essentia)  of  the  Pythag- 
oreans and  mediaeval  alchemists  was  above  the  four  terrestrial 
elements,  or  essences,  of  earth,  water,  fire,  and  air,  and  was  the 
spirit  or  soul  of  the  material  world. 

132.  in  little:  in  miniature.    Dr.  Fumess  suggests  '  the  microcosm.' 


SCENE  II  AS    YOU    LIKE    IT  73 

Therefore  Heaven  Nature  charg'd 

That  one  body  should  be  fill'd 
With  all  graces  wide-enlarg'd  :  135 

Nature  presently  distill'd 
Helen's  cheek,  but  not  her  heart, 

Cleopatra's  majesty, 
Atalanta's  better  part, 

Sad  Lucretia's  modesty.  140 

Thus  Rosalind  of  many  parts 

By  heavenly  synod  was  devis'd ; 
Of  many  faces,  eyes,  and  hearts. 

To  have  the  touches  dearest  priz'd. 
Heaven  would  that  she  these  gifts  should  have,  145 
And  I  to  live  and  die  her  slave. 

Rosalind.  O  most  gentle  Jupiter  !  what  tedious  homily 
of  love  have  you  wearied  your  parishioners  withal,  and  never 
cried,  *  Have  patience,  good  people  ! '  149 

133.  charg'd  Fi  |  chang'd  F3F4.  147.  Jupiter   Ff  |  pulpiter   Sped- 

137.  cheek  |  cheeke  F1F2  I  cheeks       ding  Camb  Globe. 
F3F4. 

139.  Atalanta's  better  part.  Commentators  have  been  a  good  deal 
puzzled  to  make  out  what  this  better  part  really  was.  It  must  have 
been  that  wherein  Atalanta  surpassed  the  other  ladies  mentioned. 
Her  distinction  is  athletic  prowess  and  nimbleness  of  foot  (1.  263). 
A  maiden  huntress,  she  took  a  leading  part  in  the  Calydonian  boar 
hunt.  Beset  by  suitors,  she  offered  herself  in  marriage  to  the  man 
who  should  outrun  her.  This  would  infer  exquisite  symmetry  and 
proportion  of  form  ;  and  Orlando  must  of  course  imagine  all  physical 
as  well  as  all  mental  and  moral  graces,  in  his  '  heavenly  Rosalind.' 

147.  Jupiter.  Few  textual  variants  have  been  more  widely  accepted 
by  editors,  conservative  and  radical  alike,  than  Spedding's  substi- 
tution of  'pulpiter'  here.  The  Folio  reading  is  defended  by  Dr. 
Furness  in  this  spirited  note  : 

Spedding's  emendation,  '  pulpiter,'  adopted  by  the  Cambridge  editor 
and  by  Dyce  in  his  second  edition,  but  abandoned  in  his  third,  is  plausible 


74  THE   NEW  HUDSON   SHAKESPEARE    act  hi 

Celia.  How  now  !  back,  friends  !  —  Shepherd,  go  off  a 
little.  —  Go  with  him,  sirrah.  151 

Touchstone.  Come,  shepherd,  let  us  make  an  honourable 
retreat;  though  not  with  bag  and  baggage,  yet  with  scrip 
and.scrippage.  \^£xeu/if  Corin  ««^  Touchstone] 

Celia.    Didst  thou  hear  these  verses?  155 

Rosalind.  O,  yes,  I  heard  them  all,  and  more  too ;  for 
some  of  them  had  in  them  more  feet  than  the  verses  would 
bear.  158 

Celia.    That 's  no  matter  :  the  feet  might  bear  the  verses. 

Rosalind.  Ay,  but  the  feet  were  lame  and  could  not  bear 
themselves  without  the  verse,  and  therefore  stood  lamely  in 
the  verse.  162 

Celia.  But  didst  thou  hear  without  wondering  how  thy 
name  should  be  hang'd  and  carv'd  upon  these  trees? 

150.  back,  friends!  |  backe  friends  Ff.  155.  Scene  VI  Pope. 

and  alluring.  It  is  the  word  of  all  words  to  introduce  the  train  of  thought 
that  follows,  with  which  '  Jupiter'  has  no  connection.  This  addition  of  an  -er 
to  a  noun  in  order  to  change  it  to  an  agent,  like  '  moraler '  in  Othello, 
'  justicer '  in  JiTino-  Lear,  etc.,  is,  as  we  all  know,  thoroughly  Shakespearian. 
Moreover, '  Jupiter'  is  not  printed  in  italics  as  though  it  were  a  proper  name, 
to  which  Wright  calls  attention,  and  as  it  is  printed  in  the  only  other  place 
where  it  is  used  in  this  play,  II,  iv,  i  ;  which  adds  to  the  likelihood  that  it 
is  here  a  misprint.  All  these  considerations  are  clamorous  for  Spedding's 
'  pulpiter.'  But,  on  the  other  hand,  the  text  is  clear  without  it ;  once  before 
Rosalind  has  appealed  to  '  Jupiter,'  and  to  use  this  mouth-filling  oath,  which 
is  '  not  dangerous,'  may  have  been  one  of  her  characteristics,  as  certainly 
the  use  of  expletives  in  general  is.  Although  'Jupiter'  is  not  elsewhere 
printed  in  Roman,  yet  '  Jove '  is,  and  in  this  very  scene,  1.  223;  and  so  also 
is  'Judas,'  in  III,  iv,  8.  '  Pulpiter'  can  hardly  be  called  an  emendation; 
there  is  no  obscurity  which  amounts  to  a  defect.  It  is  an  improvement;  and 
against  verbal  improvements,  which  it  is  far  from  impossible  to  make  in 
Shakespeare's  text,  we  should,  I  think,  acquire  and  maintain  a  dogged  habit 
of  shutting  our  eyes  and  closing  our  ears. 

164.  should  be :  was  said  to  be.  "  '  Should  '  is  frequently  used  in 
giving  a  reported  speech."  —  Clar.    See  Abbott,  §  328. 


SCENE  II  AS  YOU  LIKE   IT  75 

Rosalind.  I  was  seven  of  the  nine  days  out  of  the  wonder 
before  you  came  ;  for  look  here  what  I  found  on  a  palm-tree  : 
I  was  never  so  berhym'd  since  Pythagoras'  time,  that  I  was 
an  Irish  rat,  which  I  can  hardly  remember.  168 

Celia.   Trow  you  who  hath  done  this  ? 

Rosalind.    Is  it  a  man? 

Celia,  And  a  chain,  that  you  once  wore,  about  his  neck. 
Change  you  colour?  172 

Rosalind.    I  prithee,  who? 

Celia.  O  Lord,  Lord  !  it  is  a  hard  matter  for  friends  to 
meet ;  but  mountains  may  be  remov'd  with  earthquakes 
and  so  encounter.  176 

Rosalind.    Nay,  but  who  is  it? 

Celia.    Is  it  possible? 

Rosalind.  Nay,  I  prithee  now  with  most  petitionary 
vehemence,  tell  me  who  it  is.  180 

165.  of  the  wonder  Fi  |  of  wonder  i6g.  Trow  |  Tro  Ff . 

FiF3F4.  172.  you  F1F2  I  your  F3F4. 

165.  A  reference  to  the  "  nine  days'  wonder  "  proverb. 

167.  In  The  Mercha^it  of  Venice,  IV,  i,  131,  and  Twelfth  Alight, 
I V,  ii,  54-60,  we  have  other  references  to  the  doctrine  of  the  trans- 
migration of  souls  as  taught  by  Pythagoras. 

168.  an  Irish  rat.  This  romantic  way  of  killing  rats  in  Ireland  is 
mentioned  by  Sidney,  Jonson,  and  other  Elizabethan  writers.  So  in 
The  Poetaster  {To  the  Reader): 

Rhime  them  to  death,  as  they  do  Irish  rats 
In  drumming  tunes. 

174.  There  is  a  well-known  proverb,  "  Friends  may  meet,  but 
mountains  never  greet."  In  Holland's  translation  of  Pliny's  A'atural 
History,  a  book  much  in  vogue  in  Elizabethan  England,  occurs  the 
following  passage :  "...  Two  hilles  encountred  together,  charging 
as  it  were  and  with  violence  assaulting  one  another,  yea  and  retiring 
againe  with  a  most  mightie  noise." 


76  THE   NEW  HUDSON   SHAKESPEARE   act  hi 

Celia.  O  wonderful,  wonderful,  and  most  wonderful  won- 
derful !  and  yet  again  wonderful,  and  after  that,  out  of  all 
hooping !  183 

Rosalind.  Good  my  complexion !  dost  thou  think,  though 
I  am  caparison'd  like  a  man,  I  have  a  doublet  and  hose  in 
my  disposition?  One  inch  of  delay  more  is  a  South-sea  of 
discovery  :  I  prithee,  tell  me  who  is  it  quickly,  and  speak 
apace.  I  would  thou  couldst  stammer,  that  thou  mightst 
pour  this  conceal'd  man  out  of  thy  mouth,  as  wine  comes 

183.  hooping       F1F2F3   I  hoping  185.  hose  Fi  |  a  liose  F2F3F4. 

F4  I  whooping  Theobald.  i86.  a  South-sea  of  Ff  I  a  South- 

184.  complexion  F4  I  complection  sea  off  Theobald  |  a  south-sea-off 
F1F2F3.  Capell. 

182-183.  out  of  all  hooping  (whooping) :  beyond  all  exclamations 
of  astonishment.  '  Out  of  all  cry  '  and  '  beyond  all  ho  '  are  similar 
Elizabethan  phrases  for  the  expression  of  astonishment. 

184.  Good  my  complexion :  my  good  complexion !  A  humorous 
reference  to  her  blushes.  In  previous  editions  of  Hudson's  Shake- 
speare the  First  Folio  spelling,  'complection,'  was  retained,  and  the 
word  was  regarded  as  synonymous  with  'complication,'  the  phrase 
being  taken  to  mean  '  my  good  wrapper-up  of  mystery,'  as  Celia  has 
been  taunting  Rosalind  "with  half-told,  half-withheld  intelligence." 
Heath's  note  on  the  passage  is :  "I  am  inclinable  to  imagine  that 
the  Poet  may  possibly  have  written  '  Good  my  coz  perplexer,'  that  is, 
I  prithee,  my  perplexing  coz." 

186-187.  Ingleby's  suggestive  note  on  this  passage  is  :  "Here  we 
have  a  tale  of  questions  falling  as  thick  as  hail  upon  the  devoted 
Celia.  See  how  many  things  she  is  called  upon  to  discover;  and 
then  say  whether  she  has  not  incurred  a  laborious  and  vexatious 
duty  by  her  delay  in  answering  the  first  question.  How  plain  it  is 
that  her  inch  of  delay  has  cast  her  upon  a  South  Sea — a  vast  and 
unexplored  ocean  — ^  of  discovery.  The  more  Celia  delays  her  revela- 
tion as  to  who  the  man  is,  the  more  she  will  have  to  reveal  about 
him.  Why?  Because  Rosalind  fills  up  the  delay  (increases  it,  in 
fact)  with  fresh  interrogatories,  whereby  Celia  becomes  lost  in  a 
South  Sea  of  questions."  The  '  South-sea'  is  the  Pacific  Ocean,  dis- 
covered by  Balboa  (not  'stout  Cortez,'  as  Keats  has  it)  in  1513. 


SCENE  II  AS   YOU   LIKE    IT  y'j 

out  of  a  narrow-mouth'd  bottle,  either  too  much  at  once,  or 
none  at  all.  I  prithee,  take  the  cork  out  of  thy  mouth  that 
I  may  drink  thy  tidings.  Is  he  of  God's  making?  What 
manner  of  man?  Is  his  head  worth  a  hat,  or  his  chin  worth 
a  beard? 

Celt  A.    Nay,  he  hath  but  a  little  beard.  195 

Rosalind.  Why,  God  will  send  more,  if  the  man  will  be 
thankful :  let  me  stay  the  growth  of  his  beard,  if  thou  delay 
me  not  the  knowledge  of  his  chin. 

Celia.  It  is  young  Orlando,  that  tripp'd  up  the  wrestler's 
heels  and  your  heart  both  in  an  instant.  200 

Rosalind,  Nay,  but  the  devil  take  mocking  :  speak,  sad 
brow  and  true  maid. 

Celia.    I'  faith,  coz,  't  is  he. 

Rosalind.    Orlando  ? 

Celia.    Orlando.  205 

Rosalind.  Alas  the  day !  what  shall  I  do  with  my 
doublet  and  hose?  What  did  he  when  thou  saw'st  him? 
What  said  he?  How  look'd  he?  Wherein  went  he?  What 
makes  he  here?  Did  he  ask  for  me?  Where  remains  he? 
How  parted  he  with  thee?  and  when  shalt  thou  see  him 
again?    Answer  me  in  one  word.  211 

Celia.  You  must  borrow  me  Gargantua's  mouth  first : 
'tis  a  word  too  great  for  any  mouth  of  this  age's  size.    To 

197.  stay:  wait  for.    So  in  Hamlet,  V,  ii,  24,  and  elsewhere. 
201-202.  Speak  with  a  serious  countenance  and  as  a  true  maid. 

208.  Wherein  went  he:  how  was  he  dressed?  Cf.  Twelfth  Night, 
III,  iv,  415  ;   Much  Ado  About  Nothing,  V,  i,  96. 

209.  makes  :  does.    See  note,  p.  5,  1.  26. 

212.  Gargantua  is  the  name  of  a  most  gigantic  giant  in  Rabelais, 
who  forks  five  pilgrims,  staves  and  all,  into  his  mouth  in  a  salad, 
and  afterwards  picks  them  out  from  between  his  teeth. 


78  THE  NEW  HUDSON   SHAKESPEARE    act  in 

say  ay  and  no  to  these  particulars  is  more  than  to  answer 
in  a  catechism.  215 

Rosalind.  But  doth  he  know  that  I  am  in  this  forest 
and  in  man's  apparel  ?  Looks  he  as  freshly  as  he  did  the 
day  he  wrestl'd?  218 

Celia.  It  is  as  easy  to  count  atomies  as  to  resolve  the 
propositions  of  a  lover;  but  take  a  taste  of  my  finding  him, 
and  relish  it  with  good  observance.  I  found  him  under  a 
tree,  like  a  dropp'd  acorn.  222 

Rosalind.  It  may  well  be  call'd  Jove's  tree,  when  it 
drops  forth  such  fruit. 

Celia.    Give  me  audience,  good  madam. 

Rosalind.    Proceed.  226 

Celia.  There  lay  he,  stretch'd  along,  like  a  wounded 
knight. 

Rosalind.  Though  it  be  pity  to  see  such  a  sight,  it  well 
becomes  the  ground.  230 

Celia.  Cry  '  holla '  to  thy  tongue,  I  prithee ;  it  curvets 
unseasonably.    He  was  furnish'd  like  a  hunter. 

Rosalind.   O,  ominous  !  he  comes  to  kill  my  heart. 

219.  atomies  FiF-2  I  atomes  F3F4.  231.  thy  tongue  Rowe   1   the 

224.  drops  forth    such    F2F3F4  |         tongue  Ff. 
<iroppes  forth  Fi  |  drops  such  Capell.  233.  heart  Rowe  |  hart  Ff. 

219.  atomies.  "An  atomie  is  a  mote  flying  in  the  sunne.  Any 
thing  so  small  that  it  cannot  be  made  lesse." — Bullokar's  English 
Expositor-,  1616.  —  resolve:  solve,  answer. 

223.  The  oak  was  sacred  to  Jupiter.  Cf.  j //i?«n' ?V,  V,  ii,  14.  See 
Vergil,  Georgics,  III,  332;  yEneid,  III,  680. 

231.  '  holla.'  This  was  a  term  by  which  the  rider  restrained  and 
stopped  his  horse.    So  in  Vetius  (Did  Adonis,  284. 

233.  A  quibble  between  'hart'  and  'heart.'  Qi.  Julius  Civsar^lW, 
i,  207-20S ;  Twelfth  Night,  IV,  i,  63;  Venus  and  Adonis,  502,  and 
elsewhere. 


scExXE  II  AS   YOU   LIKE   IT  79 

Celia.  I  would  sing  my  song  without  a  burthen  :  thou 
bring'st  me  out  of  tune.  235 

Rosalind.  Do  you  not  know  I  am  a  woman?  when  I 
think,  I  must  speak.    Sweet,  say  on. 

Celia.    You  bring  me  out.  —  Soft !  comes  he  not  here  ? 

Enter  Orlando  a7id  Jaques 

Rosalind.    'T  is  he  :  sHnk  by,  and  note  him.  239 

Jaques.  I  thank  you  for  your  company ;  but,  good  faith, 
I  had  as  Hef  have  been  myself  alone. 

Orlando.  And  so  had  I ;  but  yet,  for  fashion  sake,  I 
thank  you  too  for  your  society.  243. 

Jaques.    God  be  wi'  you  !  let 's  meet  as  little  as  we  can. 

Orlando.    I  do  desire  we  may  be  better  strangers. 

Jaques.  I  pray  you,  mar  no  more  trees  with  writing  love- 
songs  in  their  barks.  247 

Orlando.  I  pray  you,  mar  no  moe  of  my  verses  with 
reading  them  ill-favouredly. 

238.  here  |  heere  Fi  |  neere  F2  I  near        239.  Scene  VII  Pope. 
F3F4.  244.  be  wi'  you  |  buy  you  Ff. 

Enter  .  .  .  in  Ff  after  1.  237. 

238.  bring  me  out :  put  me  out.    Cf .  Love's  Labour  V  Lost,  V,  ii,  171. 

341.  myself  alone :  alone  by  myself.    See  Abbott,  §  20. 

244.  God  be  wi'  you.  Here  the  Folios  have  "  God  buy  you."  Also 
in  IV,  i,  28,  of  this  play  :  "  Nay,  then,  God  buy  you,  an  you  talk  in 
blank  verse."  And  in  V,  iii,  39 :  "  God  buy  you ;  and  God  mend 
your  voices."  Of  course  it  is  the  old  contraction  of  "  God  be  with 
you,"  which  has  been  still  further  shortened  into  'good  by.' 

248.  moe.  This  is  the  reading  of  the  First  Folio.  In  Middle  and 
Elizabethan  English  the  forms  'more'  (1.  246)  and  'moe'  are  both 
found,  and,  in  use,  correspond  in  a  general  way  to  vidra  (compara- 
tive of  tm'cel,  '  great ')  and  md  in  Anglo-Saxon.  "  The  distinction 
appears  to  be  that  '  moe  '  is  used  only  with  the  plural,  '  more  '  both 
with  singular  and  plural."  —  Clar. 


8o  THE    NEW  HUDSON   SHAKESPEARE   act  hi 

Jaques.    Rosalind  is  your  love's  name?  250 

Orlando.    Yes,  just. 

Jaques.    I  do  not  like  her  name. 

Orlando.  There  was  no  thought  of  pleasing  you  when 
she  was  christen'd. 

Jaques.    What  stature  is  she  of?  255 

Orlando.    Just  as  high  as  my  heart. 

Jaques.  You  are  full  of  pretty  answers.  Have  you  not 
been  acquainted  with  goldsmiths'  wives,  and  conn'd  them 
out  of  rings?  259 

Orlando.  Not  so  ;  but  I  answer  you  right  painted  cloth, 
from  whence  you  have  studied  your  questions.  261 

Jaques.  You  have  a  nimble  wit :  I  think  't  was  made  of 
Atalanta's  heels.  Will  you  sit  down  with  me?  and  we  two 
will  rail  against  our  mistress  the  world  and  all  our  misery. 

Orlando.  I  will  chide  no  breather  in  the  world  but 
myself,  against  whom  I  know  most  faults.  266 

Jaques.    The  worst  fault  you  have  is  to  be  in  love. 

Orlando.  'T  is  a  fault  I  will  not  change  for  your  best 
virtue.    I  am  weary  of  you.  269 

26:.  your  Fi  |  you  F2.  266.  most  Fi  |  no  F.iF3F4. 

258-259.  The  meaning  is,  that  goldsmiths'  wives  have  given  him 
the  freedom  of  their  husbands'  shops,  where  he  has  committed  to 
memory  the  mottoes  inscribed  on  their  rings  and  other  jewels. 

260.  answer  you  right  painted  cloth :  answer  you  sententiously. 
'  Painted  cloth  '  was  a  species  of  hangings  for  the  walls  of  rooms, 
made  of  canvas  painted  with  various  devices  and  mottoes.  The 
verses,  mottoes,  and  proverbial  sentences  on  such  hangings  are  often 
made  the  subject  of  allusion  in  old  writers.  Cf.  Lucrece,  245 ; 
I  Henry  Il\  IV,  ii,  28  ;    Troilus  and  Cressida,  V,  10,  46. 

263.  Atalanta's  heels.  This  reference  to  the  nimble-footedness  of 
Atalanta  should  throw  light  on  the  'better  part'  of  1.  139. 


SCENE  II 


AS    YOU    LIKE    IT  8l 


Jaques.  By  my  troth,  I  was  seeking  for  a  fool  when  1 
found  you.  271 

Orlando.  He  is  drown'd  in  the  brook  :  look  but  in,  and 
you  shall  see  him. 

Jaques.   There  I  shall  see  mine  own  figure.  274 

Orlando.    Which  I  take  to  be  either  a  fool  or  a  cipher. 

Jaques.  I  '11  tarry  no  longer  with  you  :  farewell,  good 
Signior  Love.  277 

Orlando.  I  am  glad  of  your  departure  :  adieu,  good 
Monsieur  Melancholy.  \_Exit  Jaques] 

Rosalind.  \_Aside  to  Celia]  I  will  speak  to  him  like  a 
saucy  lackey,  and  under  that  habit  play  the  knave  with 
him.  —  Do  you  hear,  forester?  282 

Orlando.   Very  well :  what  would  you  ? 

Rosalind.    I  pray  you,  what  is  't  o'clock? 

Orlando.  You  should  ask  me  what  time  o'  day  :  there  's 
no  clock  in  the  forest.  286 

Rosalind.  Then  there  is  no  true  lover  in  the  forest ;  else 
sighing  every  minute  and  groaning  every  hour  would  detect 
the  lazy  foot  of  Time  as  well  as  a  clock.  289 

Orlando.  And  why  not  the  swift  foot  of  Time?  had  not 
that  been  as  proper?  291 

Rosalind.  By  no  means,  sir.  Time  travels  in  divers 
paces  with  divers  persons.  I  '11  tell  you  who  Time  ambles 
withal,  who  Time  trots  withal,  who  Time  gallops  withal, 
and  who  he  stands  still  withal.  295 

Orlando.   I  prithee,  who  doth  he  trot  withal? 

279.  {Exit  .  .  .]  I  Ff  omit.  296.  who  Fi  |  whom   F2FSF4  (so 

280.  Scene  VIII  Pope.  in  11.  308,  311). 

294.  withal.  This  is  an  emphatic  form  of  'with'  used  after  the 
object  at  the  end  of  a  sentence.    See  Abbott,  §  196. 


82  THE  NEW  HUDSON   SHAKESPEARE    act  hi 

Rosalind.  Marry,  he  trots  hard  with  a  young  maid 
between  the  contract  of  her  marriage  and  the  day  it  is 
solemniz'd  :  if  the  interim  be  but  a  se'nnight,  Time's  pace 
is  so  hard  that  it  seems  the  length  of  seven  year.  300 

Orlando.    Who  ambles  Time  withal? 

Rosalind.  With  a  priest  that  lacks  Latin,  and  a  rich  man 
that  hath  not  the  gout;  for  the  one  sleeps  easily  because 
he  cannot  study,  and  the  other  lives  merrily  because  he 
feels  no  pain ;  the  one  lacking  the  burthen  of  lean  and 
wasteful  learning,  the  other  knowing  no  burthen  of  heavy 
tedious  penury  :   these  Time  ambles  withal.  307 

Orlando.    Who  doth  he  gallop  withal? 

Rosalind.  With  a  thief  to  the  gallows  ;  for,  though  he  go 
as  softly  as  foot  can  fall,  he  thinks  himself  too  soon  there. 

Orlando.    Who  stays  it  still  withal?  311 

Rosalind.  With  lawyers  in  the  vacation ;  for  they  sleep 
between  term  and  term,  and  then  they  perceive  not  how 
Time  moves. 

Orlando.    Where  dwell  you,  pretty  youth?  315 

Rosalind.  With  this  shepherdess,  my  sister;  here  in  the 
skirts  of  the  forest,  like  fringe  upon  a  petticoat. 

Orlando.    Are  you  native  of  this  place? 


297-298.  Hardly  anything  is  so  likely  to  make  a  short  journey  seem 
long,  as  riding  on  a  hard-trotting  horse,  however  fast  the  horse  may 
go.  On  the  other  hand,  to  ride  an  ambling  horse  makes  a  long 
journey  seem  short,  because  the  horse  rides  so  easy.  It  were  hardly 
needful  to  say  this,  but  that  some  have  lately  proposed  to  invert  the 
order  of  the  nags  in  this  case. 

299.  se'nnight :  a  week.  That  is 'seven-night' (Anglo-Saxon  j^^«- 
fii/it).  Compare  Muck  Ado  About  lYotliiug,  II,  i,  375.  This  mode  of 
reckoning  still  survives  in  'fortnight,'  that  is,  'fourteen  night.' 

318.  native.    Usually  an  adjective  in  Shakespeare. 


SCENE  II  AS   YOU   LIKE   IT  83 

Rosalind.  As  the  cony,  that  you  see  dwell  where  she  is 
kindl'd.  320 

Orlando.  Your  accent  is  something  finer  than  you  could 
purchase  in  so  remov'd  a  dwelling.  322 

Rosalind.  I  have  been  told  so  of  many  :  but  indeed  an 
old  rehgious  uncle  of  mine  taught  me  to  speak,  who  was 
in  his  youth  an  inland  man ;  one  that  knew  courtship  too 
well,  for  there  he  fell  in  love.  I  have  heard  him  read  many 
lectures  against  it ;  and  I  thank  God  I  am  not  a  woman,  to 
be  touch'd  with  so  many  giddy  offences  as  he  hath  generally 
tax'd  their  whole  sex  withal.  329 

Orlando.  Can  you  remember  any  of  the  principal  evils 
that  he  laid  to  the  charge  of  women?  331 

Rosalind.  There  were  none  principal :  they  were  all  like 
one  another  as  half-pence  are,  every  one  fault  seeming 
monstrous  till  his  fellow-fault  came  to  match  it. 

Orlando.    I  prithee,  recount  some  of  them.  335 

Rosalind.  No,  I  will  not  cast  away  my  physic  but  on 
those  that  are  sick.  There  is  a  man  haunts  the  forest,  that 
abuses  our  young  plants  with  carving  Rosalind  on  their 
barks ;  -hangs  odes  upon  hawthorns  and  elegies  on  bram- 
bles ;   all,  forsooth,  deifying  the  name  of  Rosalind  :   if  I 

327.  lectures  F3F4  I  Lectors  Fi  I  333.  one  fault  F1F2  I  ones  fault  F3F4. 
Lecturs  F2. — and  F1F2  |  F3F4omit.        340.  deifying  F2F3F4  |  defying  Fi. 

320.  kindl'd :  brought  forth.  This  is  the  Middle  English  kindlen 
(Anglo-Saxon  cennan),  'to  produce,'  'to  bring  forth,'  used  specially 
of  the  littering  of  rabbits. 

322.  purchase:   acquire. — remov'd:   sequestered. 

325.  inland.  See  note,  p.  58, 1.  96.  —  courtship.  Rosalind  puns  upon 
the  word  in  its  double  sense  of  '  court  manners '  and  '  courting.' 

328.  touch'd :  tainted.    So  in  King  John,  V,  vii,  2. 

329.  tax'd:  blamed.    See  note  on  'taxation,'  p.  15,  1.  75. 


84  THE   NEW  HUDSON    SHAKESPEARE   act  in 

could  meet  that  fancy-monger,  I  would  give  him  some  good 
counsel,  for  he  seems  to  have  the  quotidian  of  love  upon  him. 

Orlando.  I  am  he  that  is  so  love-shak'd  :  I  pray  you, 
tell  me  your  remedy.  344 

Rosalind.  There  is  none  of  my  uncle's  marks  upon  you  : 
he  taught  me  how  to  know  a  man  in  love ;  in  which  cage 
of  rushes  I  am  sure  you  are  not  prisoner. 

Orlando.    What  were  his  marks?  348 

Rosalind.  A  lean  cheek,  which  you  have  not ;  a  blue 
eye  and  sunken,  which  you  have  not ;  an  unquestionable 
spirit,  which  you  have  not ;  a  beard  neglected,  which  you 
have  not ;  but  1  pardon  you  for  that,  for  simply  your  having 
in  beard  is  a  younger  brother's  revenue  :  then  your  hose 
should  be  ungarter'd,  your  bonnet  unhanded,  your  sleeve 
unbutton'd,  your  shoe  untied,  and  every  thing  about  you 
demonstrating  a  careless  desolation  :  but  you  are  no  such 

347.  are  |  art  Fi.  353.  in  beard  Fi  |  no  beard  F2F3F4. 

341.  fancy-monger:  love-monger.    So 'fancy' for 'love' in  III, v, 29. 

342.  quotidian.  Thenameof  an  intermittent  fever,  so  called  because 
the  fits  came  on  every  day.  Similarly,  'tertian'  and  'quartan'  were 
applied  to  those  that  came  on  once  in  three  and  once  in  four  days. 

349-350.  a  blue  eye.  With  blueness  about  the  eyes,  such  as  to  indi- 
cate sleeplessness,  hunger,  dejection,  d.  Lucrece,  1587.  Interesting 
evidence  may  be  gathered  from  Shakespeare  and  Elizabethan  poetry 
generally  in  support  of  the  contention  that  what  are  now  known  as 
'blue'  eyes  were  called  'gray'  in  the  sixteenth  century. 

350-351-  ^°  unquestionable  spirit:  a  reserved,  unsociable  spirit. 
The  reverse  of  that  in  Ihunlet,  I,  iv,  43. 

Thou  comest  in  such  a  questionable  shape 
That  I  will  speak  to  thee. 

352.  having:  possession.  Under  the  law  of  primogeniture,  a 
younger  brother's  revenue  was  likely  to  be  small.  Orlando  is  too 
young  for  his  possession  in  way  of  a  beard  to  amount  to  much. 


SCENE  II  AS    YOU    LIKE    IT  85 

man ;  you  are  rather  point-device  in  your  accoutrements, 
as  loving  yourself  than  seeming  the  lover  of  any  other.    358 

Orlando.  Fair  youth,  I  would  I  could  make  thee  believe 
I  love.  360 

Rosalind.  Me  believe  it !  you  may  as  soon  make  her 
that  you  love  believe  it ;  which,  I  warrant,  she  is  apter  to 
do  than  to  confess  she  does  :  that  is  one  of  the  points  in 
the  which  women  still  give  the  lie  to  their  consciences. 
But,  in  good  sooth,  are  you  he  that  hangs  the  verses  on  the 
trees,  wherein  Rosalind  is  so  admir'd  ?  366 

Orlando.  I  swear  to  thee,  youth,  by  the  white  hand  of 
Rosalind,  I  am  that  he,  that  unfortunate  he. 

Rosalind.  But  are  you  so  much  in  love  as  your  rhymes 
speak?  370 

Orlando.  Neither  rhyme  nor  reason  can  express  how  much. 

Rosalind.  Love  is  merely  a  madness ;  and,  I  tell  you, 
deserves  as  well  a  dark  house  and  a  whip  as  madmen  do  : 
and  the  reason  why  they  are  not  so  punish'd  and  cured  is, 
that  the  lunacy  is  so  ordinary  that  the  whippers  are  in  love 
too.    Yet  I  profess  curing  it  by  counsel.  376 

Orlando.    Did  you  ever  cure  any  so  ? 

Rosalind.  Yes,  one,  and  in  this  manner.  He  was  to 
imagine  me  his  love,  his  mistress ;  and  I  set  him  every  day 
to  woo  me  :  at  which  time  would  I,  being  but  a  moonish 
youth,  grieve,  be  effeminate,  changeable,  longing,  and  lik- 
ing; proud,  fantastical,  apish,  shallow,  inconstant,  full  of 

357.  rather  |  rather  a  F3F4.  —  accoutrements  |  accoustrements  Ff. 

357.  point-device  (Old  Fr.  d.  point  devis) :  precise.    See  Skeat. 
374.  This  shows  how  lunatics  were  often  treated  in  the  sixteenth 
century.    Cf.  Twelfth  Night,  III,  iv,  148;  V,  i,  350. 

380.  moonish:  changeable.  But  Halliwell suggests 'foolish,' 'weak.' 


86  THE   NEW  HUDSON   SHAKESPEARE    act  hi 

tears,  full  of  smiles  ;  for  every  passion  something,  and  for  no 
passion  truly  any  thing,  as  boys  and  women  are  for  the  most 
part  cattle  of  this  colour  :  would  now  Hke  him,  now  loathe 
him  ;  then  entertain  him,  then  forswear  him  ;  now  weep  for 
him,  then  spit  at  him  ;  that  I  drave  my  suitor  from  his  mad 
humour  of  love  to  a  living  humour  of  madness ;  which  was, 
to  forswear  the  full  stream  of  the  world  and  to  live  in  a 
nook  merely  monastic.  And  thus  I  cured  him  ;  and  this  way 
will  I  take  upon  me  to  wash  your  liver  as  clean  as  a  sound 
sheep's  heart,  that  there  shall  not  be  one  spot  of  love  in  't. 

Orlando.    I  would  not  be  cur'd,  youth.  393 

Rosalind.  I  would  cure  you,  if  you  would  but  call  me 
Rosalind,  and  come  every  day  to  my  cote  and  woo  me. 

Orlando.  Now,  by  the  faith  of  my  love,  I  will :  tell  me 
where  it  is.  397 

Rosalind.  Go  with  me  to  it,  and  I  '11  show  it  you ;  and 
by  the  way  you  shall  tell  me  where  in  the  forest  you  live. 
Will  you  go?  400 

Orlando.    With  all  my  heart,  good  youth. 

Rosalind.  Nay,  you  must  call  me  Rosalind.  —  Come, 
sister,  will  you  go?  \_Exeunt'\ 

387.  my  F1F2F3  I  this  F4.  —  from  391.  clean  ]  cleaneFi  |  cleare  V-i  \ 
F1F0F3  I  for  F4.  cloer  F3  |  clear  F4. 

388.  living  .  .  .  madness  Ff  |  402.  Nay  F1F2F3  I  Nay,  Nay  F4. 
mad  .  .  .  loving  Johnson  conj. 

388.  In  the  text  of  previous  editions  of  Hudson's  Shakespeare, 
Johnson's  suggested  substitution  of  '  loving '  for  '  living  '  —  the  read- 
ing of  the  Folios  —  was  adopted.  But  if 'living' be  taken  in  the 
sense  of  '  real,'  '  active,'  the  Folio  reading  may  well  be  retained. 

390.  merely :  entirely.    So  in  T/te  Temfest,  I,  i,  59. 

391.  liver.  The  liver  was  supposed  to  be  the  seat  of  the  passions 
and  affections,  especially  of  love  and  courage.  Shakespeare  very 
often  speaks  of  it  so,  as  in  The  Tempest,  IV,  i,  56. 


SCENE  III  •     AS   YOU   LIKE   IT  87 

Scene  III.    The  forest 

Enter  Touchstone  afid  Audrey  ;  Jaques  behind 

Touchstone.  Come  apace,  good  Audrey :  I  will  fetch 
up  your  goats,  Audrey.  And  how,  Audrey?  am  I  the  man 
yet?  doth  my  simple  feature  content  you?  3 

Scene  III  |  Scene  IX  Pope.  2.  how  FiF-2  |  now  F3F4. 

Audrey.  This  is  a  popular  abbreviation  or  corruption  of  the 
Saxon  name  Etheldreda.  The  name  '  St.  Audrey,'  for  St.  Etheldreda, 
is  found  on  old  calendars.  The  adjective  '  tawdry'  comes  from  the 
phrase  'tawdrie  lace,'  i.e.  'St.  Audrey  lace,'  a  kind  of  common  lace 
(some  say,  necklace)  bought  at  St.  Audrey's  Fair,  held  at  the  shrine 
of  the  saint  in  the  Isle  of  Ely. 

3.  feature.  This  word  (Old  Yx.  faitiire  from  hat. /acfura)  means 
here  either  'personal  appearance'  (cf.  'make')  or  'a  literary  compo- 
sition.' In  defense  of  the  latter  interpretation,  Mr.  Joseph  Crosby 
writes : 

Mr.  W.  Wilkins,  of  Trinity  College,  Dublin,  has  recently  pointed  out  that 
'feature'  formerly  meant  a  literary  work,  a  poem,  a  drama,  etc.,  just  as  we 
now  call  such  a  work  '  a  composition  ' ;  being  from  the  Latin  verb  facere,  '  to 
make.'  Ben  Jonson  uses  the  word  in  this  sense  when  he  says  of  his  creation, 
the  play  of  VolJ>one,  that  two  months  before  it  was  no  '  feature ' : 

To  this  there  needs  no  lie,  but  this  his  creature. 
Which  was  two  months  since  no  feature  ; 
And,  tliough  he  dares  give  them  five  lives  to  mend 
'T  is  known,  five  weeks  fully  penned  it. 

Various  other  examples  of  the  use  of  this  word  in  the  sense  of  a  literary  pro- 
duction have  been  discovered,  even  as  far  back  as  the  time  of  Pliny,  who,  in 
the  Preface  to  his  Natural  History,  speaks  of  his  work  as  libri  nati  apud  me 
proxima  fetiira}  .  .  .  From  the  context  we  find  that  Touchstone  calls  him-' 
self  '  a  poet,'  and  is  nettled  because  his  verses  "  cannot  be  understood,"  and 
laments  that  the  gods  had  not  made  his  rustic  adorer  '  poetical.'  Here,  instead 
of  asking,  as  the  question  is  commonly  supposed  to  signify,  "  How  does  my 
intelligent  countenance  strike  you  now  ? "  it  is  evident  that,  being  a  clown  of 
brains  and  observation,  he  had  been  making  love,  as  he  had  seen  it  done  '  at 

'  "BaX/eiura  is  etymologically  a  different  word  irom/actitra. 


88  THE  NEW   HUDSON   SHAKESPEARE   act  hi 

Audrey.    Your  features  !  Lord  warrant  us  !  what  features  ? 

Touchstone.  I  am  here  with  thee  and  thy  goats,  as  the 
most  capricious  poet,  honest  Ovid,  was  among  the  Goths. 

Jaques.  l^Asu/e']  O  knowledge  ill-inhabited,  worse  than 
Jove  in  a  thatch'd  house  !  8 

Touchstone.  When  a  man's  verses  cannot  be  under- 
stood, nor  a  man's  good  wit  seconded  with  the  forward 

court,'  by  sending  'good  Audrey'  a  poetical  billet-doux;  and  his  question 
means,  "  How  are  you  pleased  with  my  love-ditty  ?  "  He  tells  us  elsewhere  that 
he  "  could  rhyme  you  eight  years  together,  dinners  and  suppers  and  sleeping- 
hours  excepted  "  ;  and  no  wonder  he  felt  chagrined  that  his  '  simple  feature,' 
as  he  modestly  terms  his  love-rhymes,  was  unregarded,  and  his  'good  wit' 
thrown  away,  "not  being  seconded  with  the  forward  child,  understanding." 
It  was  not  his  good  looks  that  the  clever  and  sharp-witted  fellow  was  sensi- 
tive about:  Audrey  could  have  had  no  trouble  to  understand  them:  it  was 
the  nonappreciation  of  his  gallant  poetical  '  feature '  that  disgusted  him,  and 
struck  him  "  more  dead  than  a  great  reckoning  in  a  little  room." 

6.  capricious.  This  epithet  has  been  chosen  on  account  of  its 
popular  derivation  from  the  Latin  a2/>er  (fern,  caprd),  'a  goat.' 
The  pun  on  '  goats  '  and  '  Goths '  would  probably  be  very  obvious  to 
an  Elizabethan  audience  because  of  the  common  sixteenth  century 
pronunciation  of  ^//.  In  Thomas's  Historie  of  Italy e,  1 561,  '  Goths '  is 
written  '  gotes.'  The  allusion  is,  of  course,  to  the  banishment  of 
Ovid  to  Tomi  in  the  realm  of  the  Geta;. 

7.  ill-inhabited  :  ill-lodged,  having  a  bad  habitation.  See  Abbott, 
§  294,  on  Verbs  Passive.  In  J.  C.  Smith's  edition  of  this  play  there 
is  an  excellent  note  on  "  Shakespeare's  bold  formations  in  -ed"  and 
their  twofold  origin,  the  suiifix  being  either  adjectival  or  participial. 

8.  Ovid  {Metamorphoses,  VIII)  tells  how  Jupiter  and  Mercury  (Zeus 
and  Hermes)  were  once  overtaken  by  night  in  Phrygia,  and  were  in- 
hospitably excluded  by  all  the  people,  till  at  last  an  old  poor  couple, 
named  Philemon  and  Baucis,  who  lived  in  a  thatched  house,  took 
them  in  and  gave  them  the  best  entertainment  the  house  would 
afford.    Cf.  Much  Ado  About  A^othing,  II,  i,  99-100  : 

Don  Pedro.   My  visor  is  Philemon's  roof;  within  the  house  is  Jove. 
Hero.   Why,  then,  your  yisor  should  be  thatch'd. 


SCENE  III  AS    YOU    LIKE    IT  89 

child,  understanding,  it  strikes  a  man  more  dead  than  a 
great  reckoning  in  a  Uttle  room.  Truly,  I  would  the  gods 
had  made  thee  poetical.  13 

Audrey.  I  do  not  know  what  '  poetical '  is  :  is  it  honest 
in  deed  and  word?  is  it  a  true  thing?  15 

Touchstone.  No,  truly ;  for  the  truest  poetry  is  the 
most  feigning;  and  lovers  are  given  to  poetry;  and  what 
they  swear  in  poetry  may  be  said  as  lovers  they  do  feign. 

Audrey.  Do  you  wish,  then,  that  the  gods  had  made  me 
poetical?  20 

Touchstone.  I  do,  truly ;  for  thou  swear'st  to  me  thou 
art  honest :  now,  if  thou  wert  a  poet,  I  might  have  some 
hope  thou  didst  feign. 

Audrey.    Would  you  not  have  me  honest?  24 

Touchstone.  No,  truly,  unless  thou  wert  hard-favour'd ;  for 
honesty  coupled  to  beauty  is  to  have  honey  a  sauce  to  sugar. 

11-12.  a  great  reckoning  in  a  little  room.  Rabelais  has  a  saying, 
that  "  there  is  only  one  quarter  of  an  hour  in  human  life  passed  ill, 
and  that  is  between  the  calling  for  a  reckoning  and  the  paying  it." 
A  heavy  bill  for  narrow  quarters  is  apt  to  dash  the  spirits  of  tavern 
mirth.  There  is,  as  Singer  remarks,  "  much  humour  in  comparing 
the  blank  countenance  of  a  disappointed  poet  or  wit,  whose  effu- 
sions have  not  been  comprehended,  to  that  of  the  reveller  who  has 
to  pay  largely  for  his  carousing." 

14-15.  Of  this  speech  of  Audrey's  Smetham  wrote  {Letters,  1891): 
"  I  should  like  to  have  known  that  woman.    She  was  a  true  Briton." 

16.   Cf.  A  Alidsitrnmer  JVight''s  Dream,  V,  i,  14. 

17-18.  what  they  swear  in  poetry  may  be  said  as  lovers  they  do 
feign.  In  previous  editions  of  Hudson's  Shakespeare  Mason's  and 
Collier's  insertion  of  '  it '  before  '  may '  was  adopted.  Johnson's  con- 
jecture is  that  the  text  should  read,  What  they  swear  as  lovers, 
they  may  be  said  to  feign  as  poets. 

22.  honest :  virtuous.    Cf.  I,  ii,  34,  and  '  dishonest '  in  V,  iii,  4. 

25.  hard-favour'd :  harsh-featured.    Cf.  I,  ii,  33-35. 


90  THE   NEW  HUDSON   SHAKESPEARE    act  hi 

Jaques.    [_Aside']  A  material  fool !  27 

Audrey.  Well,  I  am  not  fair ;  and  therefore  I  pray  the 
gods  make  me  honest.  29 

Touchstone.  Truly,  and  to  cast  away  honesty  upon  a 
foul  slut  were  to  put  good  meat  into  an  unclean  dish. 

Audrey.  I  am  not  a  slut,  though  I  thank  the  gods  I  am 
foul.  33 

Touchstone.  Well,  prais'd  be  the  gods  for  thy  foulness  ! 
sluttishness  may  come  hereafter.  But  be  it  as  it  may  be,  I 
will  marry  thee,  and  to  that  end  I  have  been  with  Sir  Oliver 
Martext,  the  vicar  of  the  next  village,  who  hath  promis'd 
to  meet  me  in  this  place  of  the  forest  and  to  couple  us. 

Jaques.    \^Aside^  I  would  fain  see  this  meeting.  39 

Audrey.    Well,  the  gods  give  us  joy  ! 

Touchstone.  Amen.  A  man  may,  if  he  were  of  a  fear- 
ful  heart,  stagger  in  this  attempt ;  for  here  we  have  no 

27.  material :  full  of  matter.    Cf.  II,  i,  68. 

33.  foul.  Touchstone  has  just  used  this  word  in  the  ordinary 
sense  of  'dirty,'  but  Audrey  uses  it  as  opposed  to  'fair,'  i.e.  in  the 
sense  of  'plain,'  'homely.'  She  has  good  authority  for  doing  so. 
Thus  in  Thomas's  Historie  of  Itafye :  "If  the  maiden  be  faire,  she 
is  sone  had,  and  little  money  geven  with  her;  if  she  be  foule,  they 
avaunce  hir  with  a  better  portion."    So  in  Sonnets,  CXXVII : 

For  since  each  hand  hath  put  on  nature's  power, 
Fairing  the  foul  with  art's  false  borrow'd  face, 
Sweet  beauty  hath  no  name,  no  holy  bower. 

36.  Sir.  In  common  use  as  a  clerical  title  in  Shake-speare's  time, 
and  long  before.  Cf.  Sir  Hugh,  the  Welsh  parson,  in  77/1?  ]\Ierry 
Wives  of  Windsor.  Cf.  Scott,  The  Fair  Maid  of  Perth,  Chapter  XX  : 
"...  A  priest  and  parson  of  St.  John's,  .  .  .  like  all  the  priests  of 
the  period  (who  were  called  from  that  circumstance  the  Pope's 
Knights),  received  the  honourable  title  of  Dominus,  contracted  into 
Dom,  or  Don,  or  translated  into  Sir,  the  title  of  reverence  due  to 
the  secular  chivalry." 


SCENE  III  AS    YOU   LIKE    IT  91 

temple  but  the  wood,  no  assembly  but  horn-beasts.  But 
what  though?  Courage!  As  horns  are  odious,  they  are 
necessary.  It  is  said,  '  Many  a  man  knows  no  end  of  his 
goods '  :  right !  many  a  man  has  good  horns,  and  knows 
no  end  of  them.  Well,  that  is  the  dowry  of  his  wife ;  't  is 
none  of  his  own  getting.  Horns?  —  even  so: — poor  men 
alone?  No,  no;  the  noblest  deer  hath  them  as  huge  as 
the  rascal.  Is  the  single  man  therefore  bless'd?  No  :  as  a 
wall'd  town  is  more  worthier  than  a  village,  so  is  the  fore- 
head of  a  married  man  more  honourable  than  the  bare  brow 
of  a  bachelor ;  and  by  how  much  defence  is  better  than  no 
skill,  by  so  much  is  a  horn  more  precious  than  to  want. 
Here  comes  Sir  Oliver.  —  55 

Enter  Sir  Oliver  Martext 

Sir  Oliver  Martext,  you  are  well  met :  will  you  dispatch  us 
here  under  this  tree,  or  shall  we  go  with  you  to  your 
chapel?  58 

43.    horn-beasts     F3F4   I  home-  48-49.  Horns  ?  —  even  so  :  —  poor 

beasts  F1F2  I  horn'd  beasts  Walker  men  alone?  Theobald  Camb  |  homes, 
conj.  even  so  poore  men  alone :  Ff. 

43.  horn-beasts.  Walker's  suggestion  that  this  should  be  '  horn'd 
beasts,'  a  final  d  and  final  e  having  been  confounded,  was  adopted 
in  previous  editions  of  Hudson's  Shakespeare.  But  the  Folio  read- 
ing gives  an  expression  often  heard  to-day  in  the  North  of  England. 

48-49.  In  previous  editions  of  Hudson's  Shakespeare  the  reading, 
'  Horns  given  to  poor  men  alone  ? '  was  adopted ;  but  in  the  present 
text  the  Theobald  emendation  is  followed.  It  makes  the  least 
change  upon  the  Folio  reading  and  is  in  perfect  keeping  with  the 
spirit  of  Touchstone's  speech. 

50.  rascal:  deer  out^of  condition.    See  Skeat  and  Century. 

54.  In  The  Merchant  of  Venice,  V,  i,  47,  there  is  a  similar  quibble 
upon  a  postman's  '  horn '  and  the  '  horn  of  plenty.' 


92  THE   NEW  HUDSON   SHAKESPEARE   act  hi 

Sir  Oliver.    Is  there  none  here  to  give  the  woman? 

Touchstone.    I  will  not  take  her  on  gift  of  any  man.    60 

Sir  Oliver.  Truly,  she  must  be  given,  or  the  marriage 
is  not  lawful. 

Jaques.  \_Comi?ig  forward^  Proceed,  proceed:  I'll 
give  her.  64 

Touchstone.  Good  even,  good  Master  What-ye-call  't : 
how  do  you,  sir?  You  are  very  well  met :  God  'ild  you  for 
your  last  company  :  I  am  very  glad  to  see  you  :  —  even  a 
toy  in  hand  here,  sir  ;  —  nay,  pray  be  cover'd.  68 

Jaques.   Will  you  be  married,  motley? 

Touchstone.  As  the  ox  hath  his  bow,  sir,  the  horse  his 
curb,  and  the  falcon  her  bells,  so  man  hath  his  desires ; 
and  as  pigeons  bill,  so  wedlock  would  be  nibbling.        72 

Jaques.  And  will  you,  being  a  man  of  your  breeding,  be 
married  under  a  bush,  like  a  beggar?  Get  you  to  church, 
and  have  a  good  priest  that  can  tell  you  what  marriage  is  : 
this  fellow  will  but  join  you  together  as  they  join  wainscot ; 
then  one  of  you  will  prove  a  shrunk  panel,  and  like  green 
timber  warp,  warp.  78 

Touchstone.  \_Aside'\  I  am  not  in  the  mind  but  I  were 
better  to  be  married  of  him  than  of  another  :  for  he  is  not 

66.  God    'ild    Theobald  I  goddild  71.  her  bells  F1F2  I  his  bells  FsF^. 

Fi  I  godild  FaFyF^.  79.  \Asidc\  Capell. 

66.  God  'ild  :  God  yield,  God  reward.    So  again  in  V,  iv,  53. 
68.  be  cover'd.    Jaques  is  supposed  to  be  standing  with  his  hat 
off,  out  of  deference  to  the  present  company.    Cf.  V,  i,  17. 

70.  bow  :  bow-shaped  part  of  a  yoke.    It  fitted  the  neck. 

71.  The  falcon  is  strictly  the  female  hawk,  —  the  "gay  gos-hawk, 
a  bird  o'high  degree,"  —  as  distinguished  frcyn  the  male,  a  smaller 
Ijird,  known  in  falconry  as  a  'tercel,'  'tiercel,'  or  '  tiercelet.' 

79-80.  but  I  were  better.    That  it  were  not  better  for  me. 


SCENE  IV  AS    YOU   LIKE    IT  93 

like  to  marry  me  well ;  and  not  being  well  married,  it  will 
be  a  good  excuse  for  me  hereafter  to  leave  my  wife.  82 

Jaques.    Go  thou  with  me,  and  let  me  counsel  thee. 

Touchstone.    Come,  sweet  Audrey  : 
Farewell,  good  Master  Oliver  ;  not,  —  85 

O  sweet  Oliver, 
O  brave  Oliver, 
Leave  me  not  behind  thee  ; 
but, — 

Wind  away,  90 

Be  gone,  I  say, 
I  will  not  to  wedding  with  thee. 

\_Exeu7it  Jaques,  Touchstone,  and  Audrey] 

Sir  Oliver.    'T  is  no  matter  :  ne'er  a  fantastical  knave 

of  them  all  shall  flout  me  out  of  my  calling.  \^Exif\ 

Scene  IV.    The  forest 

Eftter  Rosalind  afid  Celia 

Rosalind.    Never  talk  to  me  ;  I  will  weep. 
Celia.    Do,  I  prithee ;  but  yet  have  the  grace  to  con- 
sider that  tears  do  not  become  a  man.  3 

83.  Printed  as  two  lines  in  Ff.  90-92.  Printed  as  prose  in  Ff. 

86-88.  Printed  as  prose  in  Ff.  Scene  IV  |  Scene  X  Pope. 

86.  Touchstone's  snatches  of  song  are  probably  from  an  Eliza- 
bethan ballad,  "  O  swete  Olyver,  Leave  me  not  behind  the,"  entered 
in  The  Stationers^  Registers  in  1584  and  1586.  This  ballad  seems  to 
have  been  in  two  parts,  for  in  the  Registers  there  is  reference  to 
"  the  answeare  of  O  swete  Olyver."  Touchstone  says,  I  will  sing,  not 
that  part  of  the  ballad  which  says,  "  Leave  me  not  behind  thee  " ; 
but  that  which  says,  "  Be  gone,  I  say,"  probably  part  of  the  answer. 

90.  wind:  turn  and  go.    Connected  etymologically  with  'wend.' 


94  THE   NEW  HUDSON   SHAKESPEARE    act  in 

Rosalind.    But  have  I  not  cause  to  weep? 

Celia.  As  good  cause  as  one  would  desire ;  therefore 
weep.  6 

Rosalind,    His  very  hair  is  of  the  dissembhng  colour. 

Celia.  Something  browner  than  Judas's :  marry,  his 
kisses  are  Judas's  own  children. 

Rosalind.    I'  faith,  his  hair  is  of  a  good  colour.  lo 

Celia.  An  excellent  colour :  your  chestnut  was  ever  the 
only  colour. 

Rosalind.  And  his  kissing  is  as  full  of  sanctity  as  the 
touch  of  holy  bread.  H 

Celia.  He  hath  bought  a  pair  of  cast  lips  of  Diana :  a 
nun  of  winter's  sisterhood  kisses  not  more  religiously ;  the 
very  ice  of  chastity  is  in  them.  17 

Rosalind.  But  why  did  he  swear  he  would  come  this 
morning,  and  comes  not? 

Celia.    Nay,  certainly,  there  is  no  truth  in  him. 

Rosalind.    Do  you  think  so?  21 

Celia.  Yes ;  I  think  he  is  not  a  pick-purse  nor  a  horse- 
stealer ;  but  for  his  verity  in  love,  I  do  think  him  as  con- 
cave as  a  covered  goblet  or  a  worm-eaten  nut. 

5-17.  Printed  as  twelve  lines  of  15.  cast  Fi  |  chast  F2F3F4  I  chaste 

verse  in  Ff.  Rovve  Pope. 

8.  In  old  paintings  and  tapestry  Judas  was  represented  with  red 
hair  and  beard.  The  red  wig  of  Judas  was  a  famous  stage  property 
in  the  old  miracle  plays.    So  arose  the  stage  tradition. 

15.  cast.  Rowe's  reading  '  chaste '  was  adopted  in  previous  edi- 
tions of  Hudson's  Shakespeare.  But 'cast' in  the  sense  of 'dis- 
carded' is  in  keeping  with  the  teasing  spirit  Celia  shows  in  this 
scene.  There  is  probably,  too,  a  quibble  upOTi  'cast'  and  'chaste' 
—  the  common  epithet  applied  to  Diana. 

17.  ice  of  chastity.  Cf.  Co7-iolanus,  V,  iii,  64-67. 


SCENE  IV  AS    YOU    LIKE    IT  95 

Rosalind.    Not  true  in  love?  25 

Celia.    Yes,  when  he  is  in  ;  but  I  think  he  is  not  in. 

Rosalind.    You  have  heard  him  swear  downright  he  was. 

Celia.  *  Was '  is  not '  is  '  :  besides,  the  oath  of  a  lover  is 
no  stronger  than  the  word  of  a  tapster ;  they  are  both  the 
confirmer  of  false  reckonings.  He  attends  here  in  the  forest 
on  the  Duke  your  father.  31 

Rosalind.  I  met  the  Duke  yesterday,  and  had  much 
question  with  him  :  he  ask'd  me  of  what  parentage  I  was ; 
I  told  him,  of  as  good  as  he ;  so  he  laugh'd  and  let  me  go. 
But  what  talk  we  of  fathers,  when  there  is  such  a  man  as 
Orlando?  36 

Celia.  O,  that 's  a  brave  man  !  he  writes  brave  verses, 
speaks  brave  words,  swears  brave  oaths  and  breaks  them 
bravely,  quite  traverse,  athwart  the  heart  of  his  lover ;  as  a 
puisny  tilter,  that  spurs  his  horse  but  on  one  side,  breaks 
his  staff  like  a  noble  goose  :  but  all 's  brave  that  youth 
mounts  and  folly  guides.  —  Who  comes  here?  42 

28.  a  lover  F'2F3F4  1  lover  Fi.  30.  confirmer  Ff  |  confirmers  Pope. 

28.  So  the  ancient  proverb,  "At  lovers'  perjuries  Jove  laughs." 
33.  question  :  conversation.    Often  so  in  Shakespeare. 

39.  An  allusion  to  tilting,  where  it  was  held  disgraceful  for  a  knight 
to  break  his  lance  across  the  body  of  his  adversary,  instead  of  by  a 
push  of  the  point.  Cf.  Much  Ado  About  Nothing,  V,  i,  1 39.  —  traverse : 
across.  —  lover:  mistress.    So  in  Cymbeline,  V,  v,  172. 

40.  puisny  :  inferior,  unskillful.  This  is  the  Old  French  word /mz'jw^ 
(modem  Yrtnch.  puine),  'younger,'  from  YsaX.  post-natmn.  The  word 
survives  in  two  forms  in  modern  English :  '  puisne '  in  the  expres- 
sion 'puisne  judge,'  and  'puny'  in  the  sense  of  'small,'  'petty.' 

41.  noble.  Hanmer  substituted  'nose-quill'd,'  and  Singer  'not- 
able,' but  '  noble  '  is  here  used  ironically.  Caldecott  suggests  that 
by  the  phrase  'noble  goose '  is  mdant  a  'magnanimous  simpleton  of 
an  adventurer.' 


96  THE   NEW  HUDSON  SHAKESPEARE   act  hi 

Enter  CoRiN 

CoRiN.    Mistress  and  master,  you  have  oft  inquir'd 
After  the  shepherd  that  complain'd  of  love, 
Who  you  saw  sitting  by  me  on  the  turf,  45 

Praising  the  proud  disdainful  shepherdess 
That  was  his  mistress. 

Celia.  Well,  and  what  of  him? 

CoRiN.    If  you  will  see  a  pageant  truly  play'd, 
Between  the  pale  complexion  of  true  love 
And  the  red  glow  of  scorn  and  proud  disdain,  50 

Go  hence  a  little  and  I  shall  conduct  you. 
If  you  will  mark  it. 

Rosalind.  O,  come,  let  us  remove  : 

The  sight  of  lovers  feedeth  those  in  love.  — 
Bring  us  to  this  sight,  and  you  shall  say  54 

I  '11  prove  a  busy  actor  in  their  play.  \_Exetmt'\ 

Scene  V.    AnotJier  part  of  the  forest 

Enter  Silvius  and  Phebe 

SiLVius.    Sweet  Phebe,  do  not  scorn  me  ;  do  not,  Phebe  : 
Say  that  you  love  me  not,  but  say  not  so 
In  bitterness.    The  common  executioner, 
Whose  heart  the  accustom'd  sight  of  death  makes  hard. 
Falls  not  the  axe  upon  the  humbled  neck  5 

45.  Who  Fi  I  Whom  F0F3F4.  to  this  Capell  |  Bring  us  unto  this 

54.  Bring  us  co  this  Ff  |  Bring  us        Malone  |  Bring  us  to  see  this  Dyce. 
but  to    this   I'ope  |  Come,   bring  us  Scene  V  I  Scene  XI  Pope. 

5.  Falls  not :  lets   not  fall.    Shakespeare    more   than  once    uses 
'fair  transitively.    Cf.  Lucrece,  1551  ;    The  Tempest,  V,  i,  64. 


SCENE  V  AS    YOU    LIKE    IT  97 

But  first  begs  pardon  :  will  you  sterner  be 
Than  he  that  dies  and  lives  by  bloody  drops? 

Enter  Rosalind,  Celia,  ajid  Corin,  behind 

Phebe.   I  would  not  be  thy  executioner  : 
I  fly  thee,  for  I  would  not  injure  thee. 

Thou  tell'st  me  there  is  murder  in  mine  eye  :  10 

'T  is  pretty,  sure,  and  very  probable. 
That  eyes,  that  are  the  frail'st  and  softest  things, 
Who  shut  their  coward  gates  on  atomies, 
Should  be  call'd  tyrants,  butchers,  murderers  ! 
Now  I  do  frown  on  thee  with  all  my  heart ;  1 5 

And  if  mine  eyes  can  wound,  now  let  them  kill  thee  : 
Now  counterfeit  to  swoon  ;  why,  now  fall  down ; 
Or  if  thou  canst  not,  O,  for  shame,  for  shame, 

7.  dies  and  lives  Ff  |  deals  and  11.  pretty,  sure,  Theobald  | 

lives    Theobald  I  lives    and    thrives        pretty  sure  Ff. 
Hanmer  |  lives  and  dies  Keightley.  17.  swoon  Rowe  I  swound  Ff. 

6.  It  was  customary  for  the  executioner  to  kneel  down  and  ask 
pardon  of  the  victim  before  striking  him. 

7.  This  is  a  phrase  of  frequent  occurrence  in  old  writers,  and 
seems  to  have  been  an  idiomatic  hyste7-on proteron  for  '  live  and  die.' 
The  explanation  given  by  Dr.  Sebastian  Evans  to  Dr.  C.  M.  Ingleby 
is  noteworthy  :  "  It  means,  of  course,  to  '  make  the  thing  a  matter  of 
life  and  death.'  The  profession  or  calling  of  a  man  is  that  by  which 
he  dies  and  lives  ;  that  is,  by  which  he  lives,  and  failing  which  he  dies." 

II.  pretty,  sure.  Dr.  Furness  notes  the  comic  turn  given  to  the 
phrase  in  the  text  of  the  First  Folio  by  the  omission  of  the  comma 
after  '  pretty.' 

17.  '  Swoon '  occurs  three  times  in  this  play,  and  each  time  the 
First  Folio  spells  it  differently.  — '  swound '  here,  '  swoon  '  in  IV,  iii, 
158,  and  '  sound  '  in  V,  ii,  25  :  evidence,  as  Dr.  Furness  says,  that  the 
pronunciation  of  the  word  "was  in  a  transition  state  when  the  Folio 
was  printing." 


98  THE   NEW  HUDSON   SHAKESPEARE    act  hi 

Lie  not,  to  say  mine  eyes  are  murderers  ! 

Now  show  the  wound  mine  eye  hath  made  in  thee  :  20 

Scratch  thee  but  with  a  pin,  and  there  remains 

Some  scar  of  it ;  lean  but  upon  a  rush, 

The  cicatrice  and  capable  impressure 

Thy  palm  some  moment  keeps  :  but  now  mine  eyes, 

Which  I  have  darted  at  thee,  hurt  thee  not;  25 

Nor,  I  am  sure,  there  is  no  force  in  eyes 

That  can  do  hurt. 

SiLvius.  O  dear  Phebe, 

If  ever,  —  as  that  ever  may  be  near,  — 
You  meet  in  some  fresh  cheek  the  power  of  fancy, 
Then  shall  you  know  the  wounds  invisible  3c 

That  love's  keen  arrows  make. 

Phebe.  But  till  that  time 

Come  not  thou  near  me ;  and  when  that  time  comes, 
Afflict  me  with  thy  mocks,  pity  me  not ; 
As  till  that  time  I  shall  not  pity  thee. 

Rosalind.    \^At/z'ana;ig]    And  why,   I   pray  you?    Who 
might  be  your  mother,  35 

That  you  insult,  exult,  and  all  at  once, 
Over  the  wretched?    What  though  you  have  no  beauty, — 

22.  but  omitted  in  Fi.  mo   Malone  I  have  more  Steevens  | 
37.  have  no  |  hau  no  Fi  |  have       have  some  Hanmer. 

23.  capable  impressure  :  sensible  impression.  Singer  and  Collier's 
second  folio  change  '  capable '  to  '  palpable.'  But  elsewhere,  as  in 
Hamlet,  III,  iv,  127,  Shakespeare  uses  '  capable  '  as  passive.  Cf.  '  in- 
capable '  for  '  insensible '  or  '  unconscious,'  in  J/amlet,  IV,  vii,  1 78-1 79 : 

she  chanted  snatches  of  old  tunes  ; 
As  one  incapable  of  her  own  distress. 

29.  fancy:  love.  So  'fancy-monger,'  III,  ii,  341,  and  'fancy-free,' 
A  Midsitviiner  Nighfs  Dreatn,  II,  i,  164. 


SCENE  V  AS    YOU   LIKE    IT  99 

As,  by  my  faith,  I  see  no  more  in  you 

Than  without  candle  may  go  dark  to  bed,  — 

Must  you  be  therefore  proud  and  pitiless?  40 

Why,  what  means  this  ?    Why  do  you  look  on  me  ? 

I  see  no  more  in  you  than  in  the  ordinary 

Of  nature's  sale-work.    'Od's  my  little  life, 

I  think  she  means  to  tangle  my  eyes  too  ! 

No,  faith,  proud  mistress,  hope  not  after  it :  45 

'T  is  not  your  inky  brows,  your  black  silk  hair, 

Your  bugle  eyeballs,  nor  your  cheek  of  cream, 

That  can  entame  my  spirits  to  your  worship. 

You  foolish  shepherd,  wherefore  do  you  follow  her. 

Like  foggy  south,  puffing  with  wind  and  rain  ?  50 

You  are  a  thousand  times  a  properer  man 

Than  she  a  woman  :  't  is  such  fools  as  you 

That  makes  the  world  full  of  ill-favour'd  children  : 

'T  is  not  her  glass,  but  you,  that  flatters  her ; 

And  out  of  you  she  sees  herself  more  proper  55 

40.  Rosalind  knows  that  to  tell  Phebe  she  ought  not  to  be  proud 
because  she  has  beauty  would  but  make  her  the  prouder;  she  there- 
fore tells  her  she  ought  not  to  be  proud  because  she  lacks  it.  Often 
the  best  way  to  take  down  people's  pride  is  to  assume  that  they  can- 
not be  so  big  fools  as  to  think  they  have  anything  to  be  proud  of. 

43.  nature's  sale-work.  The  expression  has  reference,  apparently, 
to  work  made  for  the  general  market,  and  not  to  particular  order  or 
for  any  special  purpose  or  purchaser.  — 'Od's  my  little  life.  A  petty 
oath,  in  which  '  'Od's '  is  a  diminutive,  or  disguise,  of  '  God's.'  Cf. 
"Od's  my  will,'  IV,  iii,  17;  ''Od's  heartlings,'  The  Merry  Wives  of 
Windsor,  III,  iv,  59;  ''Od's  lifelings,'  Twelfth  Night,  V,  i,  187; 
'  'Od's  pittikins,'  Cy;nbeli?ie,  IV,  ii,  C93. 

47.  bugle  eyeballs  :  eyes  black  as  bugles.  '  Bugles  '  were  beads  of 
elongated  glass,  often  black.  Cf.  'bugle  bracelet,'  in  the  song  of 
Autolycus,  The  Winter's  Tale,  IV,  iv,  224. 

51.  properer:  handsomer.    So  in  11.  55,  114,  and  in  I,  ii,  106. 


lOO       THE   NEW  HUDSON   SHAKESPEARE    act  hi 

Than  any  of  her  lineaments  can  show  her. 

But,  mistress,  know  yourself :  down  on  your  knees, 

And  thank  heaven,  fasting,  for  a  good  man's  love  : 

For  I  must  tell  you  friendly  in  your  ear. 

Sell  when  you  can  :  you  are  not  for  all  markets  :  60 

Cry  the  man  mercy  ;  love  him  ;  take  his  offer  : 

Foul  is  most  foul,  being  foul  to  be  a  scoffer.  — 

So,  take  her  to  thee,  shepherd  ;  fare  you  well. 

Phebe.  Sweet  youth,  I  pray  you,  chide  a  year  together : 
I  had  rather  hear  you  chide  than  this  man  woo.  65 

Rosalind.  He  's  fallen  in  love  with  your  foulness  and 
she  '11  fall  in  love  with  my  anger.  If  it  be  so,  as  fast  as  she 
answers  thee  with  frowning  looks,  I  '11  sauce  her  with  bitter 
words.  —  Why  look  you  so  upon  me  ? 

Phebe.    For  no  ill  will  1  bear  you.  70 

Rosalind.    I  pray  you,  do  not  fall  in  love  with  me, 
For  I  am  falser  than  vows  made  in  wine  : 
Besides,  I  like  you  not.    If  you  will  know  my  house, 
'T  is  at  the  tuft  of  olives  here  hard  by.  — 
Will  you  go,  sister?  —  Shepherd,  ply  her  hard. —  75 

Come,  sister.  —  Shepherdess,  look  on  him  better. 
And  be  not  proud  :  though  all  the  world  could  see, 
None  could  be  so  abus'd  in  sight  as  he. — 
Come,  to  our  flock.      \_Exeunt  Rosalind,  Celia,  a7id  Corin] 

66-69.  Printed  as  verse  in  Ff.  77.  see  Ff  I  see  ye  Hanmer. 

66.  your  Ff  |  her  Hanmer.  79.  Come,  toFiFa  |  Come  to  F8F4. 

61.  Cry  the  man  mercy  :  beg  the  man's  pardon. 

62.  to  be.  If  this  is  an  instance  of  the  infinitive  used  gerun- 
dively  (Abliott,  §  356),  the  meaning  is,  The  ugly  are  most  ugly  when 
they  add  further  ugliness  by  being  scoffers,  or  scornful. 

77-78.  If  all  men  could  see  you,  none  but  he  could  be  so  deceived 
as  to  think  you  beautiful. 


SCENE  V  AS    YOU    LIKE    IT  lOI 

Phebe.  Dead  shepherd,  now  I  find  thy  saw  of  might,  — 
'  Who  ever  lov'd  that  lov'd  not  at  first  sight?  '  8i 

SiLvius.    Sweet  Phebe,  — 

Phebe.  Ha,  what  say'st  thou,  Silvius? 

SiLVius.    Sweet  Phebe,  pity  me. 

Phebe.    Why,  I  am  sorry  for  thee,  gentle  Silvius. 

Silvius.    Wherever  sorrow  is,  relief  would  be  :  85 

If  you  do  sorrow  at  my  grief  in  love, 
By  giving  love  your  sorrow  and  my  grief 
Were  both  extermin'd. 

Phebe.   Thou  hast  my  love  :  is  not  that  neighbourly? 

Silvius.   I  would  have  you. 

Phebe.  Why,  that  were  covetousness. 

Silvius,  the  time  was  that  I  hated  thee,  91 

And  yet  it  is  not  that  I  bear  thee  love ; 
But  since  that  thou  canst  talk  of  love  so  well, 
Thy  company,  which  erst  was  irksome  to  me, 
I  will  endure  ;  and  I  '11  employ  thee  too  :  95 

But  do  not  look  for  further  recompense 
Than  thine  own  gladness  that  thou  art  employ'd. 

Silvius.    So  holy  and  so  perfect  is  my  love, 
And  I  in  such  a  poverty  of  grace. 
That  I  shall  think  it  a  most  plenteous  crop  icxd 

80.  Dead    Fi   |    Deed    F2F3F4   |  99.  And  I  in  Fi  |  And  in  F2  I  And 

'Deed  Hanmer  |  Dear  Gould  conj.  F3F4. 

80.  Dead  shepherd.  The  obvious  reference  is  to  Christopher 
Marlowe,  the  '  saw  of  might '  in  the  succeeding  line  being  from  his 
Hero  and  Leander,  first  printed  in  1598.  While  the  pastoral  conven- 
tion (see  Introduction,  page  x)  so  influenced  Elizabethan  literature 
that  the  word  '  shepherd '  became  a  synonym  for  '  poet,'  the  expres- 
sion '  dead  shepherd '  has  about  it  a  ring  of  personal  affection. 

88.  extermin'd  :    exterminated.     Cf.  Fr.  exie?-miner. 


I02        THE    NEW   HUDSON   SHAKESPEARE    act  ill 

To  glean  the  broken  ears  after  the  man 

That  the  main  harvest  reaps  :  loose  now  and  then 

A  scatter'd  smile,  and  that  I  '11  live  upon. 

Phebe.    Know'st  thou  the  youth  that  spoke  to  me  ere- 
while  ? 

SiLvius,    Not  very  well,  but  I  have  met  him  oft ;  105 

And  he  hath  bought  the  cottage  and  the  bounds 
That  the  old  carlot  once  was  master  of. 

Phebe.    Think  not  I  love  him,  though  I  ask  for  him  ; 
'T  is  but  a  peevish  boy  ;  yet  he  talks  well ; 
But  what  care  I  for  words?  yet  words  do  well  no 

When  he  that  speaks  them  pleases  those  that  hear. 
It  is  a  pretty  youth  —  not  very  pretty ; 
But,  sure,  he  's  proud  ;  and  yet  his  pride  becomes  him  : 
He  '11  make  a  proper  man  :  the  best  thing  in  him 
Is  his  complexion  ;  and  faster  than  his  tongue  115 

Did  make  offence,  his  eye  did  heal  it  up. 
He  is  not  very  tall ;  yet  for  his  years  he  's  tall : 
His  leg  is  but  so  so ;  and  yet  't  is  well : 
There  was  a  pretty  redness  in  his  lip, 

A  little  riper  and  more  lusty  red  120 

Than  that  mix'd  in  his  cheek ;  't  was  just  the  difference 
Betwixt  the  constant  red  and  mingled  damask. 

102.  loose  F1F2F8  I  lose  F4  Rowe.  117.  very  omitted  by  Hanmer 

104.  erewhile  F4  I  yerewhile  F1F2F3.       Capell  Steevens. 

107.  carlot :  peasant.  Probably  a  word  of  Shakespearian  coinage 
—  a  diminutive  of  'carl'  or  'churl.'    Cf.  H,  iv,  75. 

122.  mingled  damask.  Cf.  Sonnets,  CXXX,  5  ;  The  Passionate  Pil- 
jl^rim,  89  ;  LoTe's  Labour'' s  Lost,  V,  ii,  296 ;  Twel/t/i  Nif;lit,  II,  iv,  1 15. 
Shakespeare,  like  Tennyson,  uses  the  word  '  damask  '  in  two  senses, 
one  having  reference  to  the  rose,  and  the  other  to  the  rich  varie- 
gated fabric  of  that  name. 


SCENE  V  AS   YOU   LIKE    IT  IO3 

There  be  some  women,  Silvius,  had  they  mark'd  him 

In  parcels  as  I  did,  would  have  gone  near 

To  fall  in  love  with  him  :  but,  for  my  part,  125 

I  love  him  not,  nor  hate  him  not ;  and  yet 

I  have  more  cause  to  hate  him  than  to  love  him  : 

For  what  had  he  to  do  to  chide  at  me  ? 

He  said  mine  eyes  were  black,  and  my  hair  black ; 

And,  now  I  am  remember'd,  scorn'd  at  me  :  130 

I  marvel  why  I  answer'd  not  again  : 

But  that 's  all  one ;  omittance  is  no  quittance. 

I  '11  write  to  him  a  very  taunting  letter, 

And  thou  shalt  bear  it;   wilt  thou,  Silvius?  134 

Silvius.    Phebe,  with  all  my  heart. 

Phebe.  I  '11  write  it  straight ; 

The  matter  's  in  my  head  and  in  my  heart : 
I  will  be  bitter  with  him  and  passing  short. 
Go  with  me,  Silvius.  \^-Exeunt'] 

1S7.  I  have  F2F3F4  I  Have  Fi.  133.  taunting  F4  I  tanting  F1F2F3. 

124.  in  parcels  :  in  detail.  '  Parcel '  etymologically  means  '  portion.' 

128.  What  business  had  he  to  chide  me  as  he  did  ? 

130.  am  remember'd  :  recollect.    Ci.  Measure  for  Meastire,Tl,i,iiO. 

132.  omittance  is  no  quittance.  This  is  evidently  a  proverb.  '  Omit- 
tance,' as  a  legal  term,  meant  in  the  sixteenth  century,  formal  dis- 
charge from  a  debt  or  obligation.  It  then  came  to  mean  'repayment,' 
'  recompense,'  as  in  2  Hettry  IV,  I,  i,  108.  Cf.  the  proverbial  expres- 
sion, '  cry  quittance,'  meaning  'get  even  ' : 

Cry  quittance,  madam,  then,  and  love  not  him. 

Marlowe,  Edward  11,  I,  iv. 

135.  straight :  straightway,  immediately.    So  in  Hamlet,  V,  i,  4. 
137.  passing    short:    extremely  curt.    'Passing'  is   still   used   in 
poetry  for  '  surpassingly,'  '  exceedingly  ' : 

For  she  was  passing  weary  of  his  love. 

Matthew  Arnold,  Tristram  and  Iseult. 


ACT  IV 

Scene  I.    TJie  forest 
Enter  Rosalind,  Celia,  and  Jaques 

Jaques.  I  prithee,  pretty  youth,  let  me  be  better 
acquainted  with  thee. 

Rosalind.   They  say  you  are  a  melancholy  fellow. 

Jaques.    I  am  so ;  I  do  love  it  better  than  laughing.       4 

Rosalind.  Those  that  are  in  extremity  of  either  are 
abominable  fellows,  and  betray  themselves  to  every  modern 
censure  worse  than  drunkards. 

Jaques.    Why,  't  is  good  to  be  sad  and  say  nothing. 

Rosalind.    Why,  then  't  is  good  to  be  a  post.  9 

Jaques.  I  have  neither  the  scholar's  melancholy,  which 
is  emulation  ;  nor  the  musician's,  which  is  fantastical ;  nor 
the  courtier's,  which  is  proud  ;  nor  the  soldier's,  which  is 
ambitious  ;  nor  the  lawyer's,  which  is  politic  ;  nor  the  lady's, 
which  is  nice  ;  nor  the  lover's,  which  is  all  these ;  but  it  is 
a  melancholy  of  mine  own,  compounded  of  many  simjiles, 
extracted   from    many   objects,   and,    indeed,    the    sundry 

The  forest  Rowe  |  Ff  omit.  6.  abominable   Y\  \  abhominable 

I.  me  be  better  F2F8F4 1  me  bet-       Fi. 
ter  Fi.  13.  politic  |  political  Rowe. 

5.  in  extremity  of:  extremely  given  to.    Cf.  IV,  iii,  23. 

6.  modern:  ordinary.     Cf.  II,  vii,  155. 

7.  censure:  judgment.    Hut  in  1.  171  it  means  'blame.' 

14.  nice  :  fastidious.    From  Lat.  nescins  through  Old  Fr.  nice. 

15.  simples  :  element  ingredients.    Usually  herbs. 

104 


SCENE  I  AS    YOU   LIKE    IT  105 

contemplation  of  ray  travels,  in  which  my  often  rumination 
wraps  me  in  a  most  humorous  sadness.  18 

Rosalind.  A  traveller  !  By  my  faith,  you  have  great 
reason  to  be  sad  :  I  fear  you  have  sold  your  own  lands  to 
see  other  men's ;  then,  to  have  seen  much,  and  to  have 
nothing,  is  to  have  rich  eyes  and  poor  hands. 

Jaques.    Yes,  I  have  gain'd  my  experience.  23 

Rosalind.  And  your  experience  makes  you  sad  :  I  had 
rather  have  a  fool  to  make  me  merry  than  experience  to 
make  me  sad ;  and  to  travel  for  it  too  ! 

Enter  Orlando 

Orlando.   Good  day  and  happiness,  dear  Rosalind  !     27 

Jaques.    Nay,  then,  God  be  wi'  you,  and  you  talk  in  blank 

verse  !  \_Exit\ 

17.  contemplation  Fi  |  contem-  27.  Enter  Orlando  in  Ff  after 
plations  F3F4. —  in  which  my  F2F3F4       1-  23. 

I  in  which  by  Fi.  28.  tie  wi'  you  |  buy  you  Ff. 

17-18.  The  text  follows  the  later  Folios,  and  the  probable  construc- 
tion is  —  "  my  often  rumination  in  which  (travels)  wraps  me  .  .  ." 
In  an  endeavor  to  emend  the  text,  Singer  and  Dyce  threw  out 
the  'in  '  altogether,  and  retained  'by,'  making  'which'  the  subject  of 
'  wraps.'  In  previous  editions  of  Hudson's  Shakespeare  the  Jervis- 
Seymour  reading,  '  on  which  my,'  was  adopted. 

18.  humorous:  whimsical.    See  note,  p.  25,  1.  246. 

28.  be  wi'  you.  See  note,  p.  79,  1.  244.  —  and:  if.  So  in  11.  36, 
46,  64.  This  is  the  reading  of  the  Folios.  Pope  read  '  an,'  but  the 
change  is  unnecessary.     See  Murray,  'and,'  and  Abbott,  §  loi. 

28-29.  blank  verse.  This  expression,  used  by  Nash  in  the  Preface 
to  Greene's  Metiaphon,  1589,  Shakespeare  employs  three  times. 

29.  This  Exit  is  not  marked  in  the  First  Folio,  but  appears  in  the 
other  Folios.  In  previous  editions  of  Hudson's  Shakespeare  '■Exit 
Jaques  '  is  inserted  after  'gondola,'  1.  34.  This  suggestion  was  first 
made  by  Dyce  and  is  defended  by  Dr.  Furness. 


Io6        THE   NEW  HUDSON    SHAKESPEARE    act  iv 

Rosalind.  Farewell,  Monsieur  Traveller :  look  you  lisp 
and  wear  strange  suits ;  disable  all  the  benefits  of  your  own 
country  ;  be  out  of  love  with  your  nativity  and  almost  chide 
God  for  making  you  that  countenance  you  are ;  or  I  will 
scarce  think  you  have  swam  in  a  gondola.  —  Why,  how  now, 
Orlando  !  where  have  you  been  all  this  while?  You  a  lover  ! 
And  you  serve  me  such  another  trick,  never  come  in  my 
sight  more.  37 

Orlando.  My  fair  Rosalind,  I  come  within  an  hour  of 
my  promise.  39 

Rosalind.  Break  an  hour's  promise  in  love  !  He  that 
will  divide  a  minute  into  a  thousand  parts,  and  break  but  a 
part  of  the  thousandth  part  of  a  minute  in  the  affairs  of 
love,  it  may  be  said  of  him  that  Cupid  hath  clapp'd  him  o* 
the  shoulder,  but  I  '11  warrant  him  heart-whole.  •       44 

Orlando.    Pardon  me,  dear  Rosalind. 

Rosalind.  Nay,  and  you  be  so  tardy,  come  no  more  in 
my  sight :  I  had  as  lief  be  woo'd  of  a  snail. 

30.  Scene  II  Pope.  44.   heart-whole    Rowe  I  heart 
34.  gondola  Pope  |  Gundello  Ff.               whole  F4  I  heart  hole  F1F2F3. 

42.  thousandth  Rowe  I  thousand  Ff. 

31.  strange  suits.  Similar  satire  of  the  affectation  of  foreign  dress 
is  in  Much  Ado  About  Nothing,  III,  ii,  35,  and  The  Merchatit  of 
Venice,  I,  ii,  79.  —  disable:  disparage.    Cf.  V,  iv,  72. 

33.  Cf.  Sonnets,  xxix,  5-6  :  "  Wishing  me  .  .  .  Featur'd  like  him." 

34.  In  Shakespeare's  time  Venice,  on  account  of  its  gayety,  was 
the  common  resort  of  travelers,  as  much  as  Paris  is  now.  And  of 
course  all  who  went  to  Venice  sailed  or  '  swam  in  a  gondola.'  Cf. 
The  A/erchant  of  I'cnicc,  II,  viii,  8. 

43-44.  clapp'd  him  0'  the  shoulder.  In  Troilits  and  CressiJa,  III,  iii, 
139 ;  Love's  Labour 's  Lost,  V,  ii,  107 ;  and  Much  Ado  About  A'othing, 
I,  i,  261,  this  expression  is  used  to  signify  friendly  encouragement. 
This  is  probably  the  meaning  here.  In  Cyfnbeline,  V,  iii,  78,  a  similar 
expression,  '  touch  my  shoulder,'  means  '  arrest.' 


SCENE  I  AS   YOU   LIKE   IT  107 

Orlando.    Of  a  snail  ?  48 

Rosalind.  Ay,  of  a  snail ;  for,  though  he  comes  slowly, 
he  carries  his  house  on  his  head,  —  a  better  jointure,  I 
think,  than  you  make  a  woman :  besides,  he  brings  his 
destiny  with  him.  52 

Orlando.   What 's  that? 

R0SAI.1ND.  Why,  horns ;  which  such  as  you  are  fain  to 
be  beholding  to  your  wives  for  :  but  he  comes  arm'd  in  his 
fortune  and  prevents  the  slander  of  his  wife.  56 

Orlando.  Virtue  is  no  horn-maker ;  and  my  Rosalind  is 
virtuous. 

Rosalind.    And  I  am  your  Rosalind.  59 

Celia.  It  pleases  him  to  call  you  so ;  but  he  hath  a 
Rosalind  of  a  better  leer  than  you.  61 

Rosalind.  Come,  woo  me,  woo  me ;  for  now  I  am  in  a 
holiday  humour,  and  like  enough  to  consent.  What  would 
you  say  to  me  now,  and  I  were  your  very  very  Rosalind? 

Orlando.    I  would  kiss  before  I  spoke.  65 

Rosalind.  Nay,  you  were  better  speak  first ;  and  when 
you  were   gravell'd    for  lack    of  matter,   you   might  take 

55.  beholding :  beholden.  A  common  sixteenth  century  corruption. 

56.  prevents:  anticipates.  Often  so  in  Elizabethan  literature. — 
the  slander  of  his  wife :  the  slander  caused  by  his  wife. 

61.  leer :  aspect,  mien.  This  word  (Middle  English  /ere  or  lire, 
Anglo-Saxon  /i /ear,  ^  cheek')  Shakespeare  uses  in  two  senses :  (i)  'mien,' 
'look,'  'complexion,'  as  here  and  in  Tiius  Andronicus,  IV,  ii,  119;  (2) 
'  a  sly  or  amorous  look,'  as  in  The  Merry  Wives  of  Windsor,  I,  iii,  50. 
It  is  possible  that  Celia  uses  the  word  here  in  the  double  sense. 

67.  giravell'd :  stuck,  stranded.  It  has  been  suggested  that  this 
use  of  'gravel '  sprang  from  horses  being  lamed,  as  they  sometimes 
are,  by  getting  gravel-stones  into  their  hoofs.  More  likely,  however, 
is  the  suggestion  in  Cotgrave  :  '■'■Assable:  gravelled;  filled  with  sand; 
also  stuck  in,  or  run  on,  the  sand." 


I08        THE   NEW  HUDSON    SHAKESPEARE    act  iv 

occasion  to  kiss.  Very  good  orators,  when  they  are  out,  they 
will  spit ;  and  for  lovers,  lacking  —  God  warn  us  !  —  matter, 
the  cleanliest  shift  is  to  kiss.  70 

Orlando.    How  if  the  kiss  be  denied  ? 

Rosalind.  Then  she  puts  you  to  entreaty  and  there 
begins  new  matter. 

Orlando.  Who  could  be  out,  being  before  hi$  belov'd 
mistress?  75 

Rosalind.  Marry,  that  should  you,  if  I  were  your  mis- 
tress ;  or  I  should  think  my  honesty  ranker  than  my  wit. 

Orlando.    What,  of  my  suit? 

Rosalind.  Not  out  of  your  apparel,  and  yet  out  of  your 
suit.    Am  not  I  your  Rosalind  ?  So 

Orlando.  I  take  some  joy  to  say  you  are,  because  I 
would  be  talking  of  her. 

Rosalind.   Well,  in  her  person,  I  say,  I  will  not  have  you. 

Orlando.    Then  in  mine  own  person,  I  die.  84 

Rosalind.  No,  faith,  die  by  attorney.  The  poor  world 
is  almost  six  thousand  years  old,  and  in  all  this  time  there 
was  not  any  man  died  in  his  own  person,  videlicet,  in  a 
love-cause.  Troilus  had  his  brains  dash'd  out  with  a  Grecian 
club ;  yet  he  did  what  he  could  to  die  before  ;  and  he  is 
one  of  the  patterns  of  love.  Leander,  he  would  have  liv'd 
many  a  fair  year,  though  Hero  had  turn'd  nun,  if  it  had  not 
been  for  a  hot  midsummer  night ;  for,  good  youth,  he  went 
but  forth  to  wash  him  in  the  Hellespont,  and,  being  taken 

84.  die  Fi  I  doe  F^Fj.  93.  him  Fi  |  omitted  in  F2F3F4. 

85.  by  attorney:  by  deputy  or  substitute.  '  Attorney'  (Old  Fr.  <?, 
'to,'  Lat.  ad,  and  tor?ier, '  to  turn  ')  is  defined  by  Skeat  as  "  an  agent 
who  acts  in  the  'turn'  of  another." 

88-94.  Rosalind  invents  the  Grecian  club  and  Leander's  cramp. 


SCENE  I  AS   YOU   LIKE    IT  IO9 

with  the  cramp,  was  drown 'd  :  and  the  foolish  chroniclers 
of  that  age  found  it  was  —  Hero  of  Sestos.  But  these  are 
all  lies :  men  have  died  from  time  to  time  and  worms 
have  eaten  them,  but  not  for  love.  97 

Orlando.  I  would  not  have  my  right  Rosalind  of  this 
mind  ;  for,  I  protest,  her  frown  might  kill  me.  99 

Rosalind.  By  this  hand,  it  will  not  kill  a  fly.  But  come, 
now  I  will  be  your  Rosalind  in  a  more  coming-on  disposi- 
tion ;  and  ask  me  what  you  will,  I  will  grant  it.  102 

Orlando.   Then  love  me,  Rosalind. 

Rosalind.   Yes,  faith,  will  I,  Fridays  and  Saturdays  and  all. 

Orlando.    And  wilt  thou  have  me?  105 

Rosalind.    Ay,  and  twenty  such. 

Orlando.    What  say'st  thou? 

Rosalind.    Are  you  not  good  ? 

Orlando.    I  hope  so.  109 

Rosalind.  Why,  then,  can  one  desire  too  much  of  a  good 
tiling?  —  Come,  sister,  you  shall  be  the  priest  and  marry  us. 
—  Give  me  your  hand,  Orlando.  —  What  do  you  say,  sister? 

Orlando.    Pray  thee,  marry  us. 

Celia.    I  cannot  say  the  words.  114 

Rosalind.    You  must  begin,  '  Will  you,  Orlando,  — ' 

Celia.  Go  to.  —  Will  you,  Orlando,  have  to  wife  this 
Rosalind  ?  117 

94.  chroniclers  F2F3F4  I  chronoclers  Fi  |  coroners  Hanmer. 

95.  found  :  brought  in  a  verdict.  The  verdict  was,  '  drowned  him- 
self for  love  of  Hero.'  The  report  of  the  old  chroniclers  or  histo- 
rians is  implicitly  compared  to  the  finding  of  a  coroner's  inquest.  Cf. 
Hamlet,  V,  i,  5.  For  a  discussion  of  Hanmer's  famous  substitution 
of  'coroners'  for  'chroniclers,' see  Furness. 

loi.  more  coming-on  disposition :  a  disposition  more  facile,  ready, 
and  encouraging.    '  Coming-on  '  is  probably  a  Shakespeare  coinage. 


no        THE   NEW  HUDSON   SHAKESPEARE    act  iv 

Orlando.    I  will. 

Rosalind.   Ay,  but  when  ? 

Orlando.   Why,  now  ;  as  fast  as  she  can  marry  us.     120 

Rosalind.  Then  you  must  say,  '  I  take  thee,  Rosalind, 
for  wife.' 

Orlando.    I  take  thee,  Rosalind,  for  wife.  123 

Rosalind.  I  might  ask  you  for  your  commission ;  but, 
I  do  take  thee,  Orlando,  for  my  husband  :  there 's  a  girl 
goes  before  the  priest ;  and,  certainly,  a  woman's  thought 
runs  before  her  actions.  127 

Orlando.    So  do  all  thoughts  ;  they  are  wing'd. 

Rosalind.  Now  tell  me  how  long  you  would  have  her 
after  you  have  possess'd  her. 

Orlando.    For  ever  and  a  day.  131 

Rosalind.  Say  '  a  day,'  without  the  '  ever.'  No,  no, 
Orlando ;  men  are  April  when  they  woo,  December  when 
they  wed  :  maids  are  May  when  they  are  maids,  but  the 
sky  changes  when  they  are  wives.  I  will  be  more  jealous  of 
thee  than  a  Barbary  cock-pigeon  over  his  hen,  more  clamor- 
ous than  a  parrot  against  rain,  more  new-fangl'd  than  an 
ape,  more  giddy  in  my  desires  than  a  monkey  :  I  will  weep 
for  nothing,  like  Diana  in  the  fountain  ;  and  I  will  do  that 

124.  commission :  warrant.  Authority  to  perform  the  marriage 
ceremony;  or,  warrant  for  'taking'  me  to  wife. 

126.  goes  before  the  priest :  goes  faster  than  the  priest.  Rosalind 
gets  ahead  of  the  priest  in  the  service. 

136.  Barbary.  "  '  Barbary  '  of  itself  implies  Oriental  watchfulness 
and  jealousy." — Fumess. 

137.  new-fangl'd.  For  the  interesting  history  of  this  word,  see 
Skeat. 

139.  Diana  in  the  fountain.  Figures  of  Diana  were  anciently  a  fre- 
quent ornament  of  fountains.    So  in  T/ie  City  Match  :  "  Now  could  I 


SCENE  I  AS    YOU   LIKE    IT  III 

when  you  are  dispos'd  to  be  merry  :  I  will  laugh  like  a  hyen, 
and  that  when  thou  art  inclin'd  to  sleep.  141 

Orlando.    But  will  my  Rosalind  do  so? 

Rosalind.    By  my  life,  she  will  do  as  I  do. 

Orlando.    O,  but  she  is  wise.  144 

Rosalind.  Or  else  she  could  not  have  the  wit  to  do  this  : 
the  wiser,  the  waywarder  :  make  the  doors  upon  a  woman's 
wit  and  it  will  out  at  the  casement;  shut  that,  and  'twill 
out  at  the  key-hole  ;  stop  that,  'twill  fly  with  the  smoke  out 
at  the  chimney.  149 

Orlando.  A  man  that  had  a  wife  with  such  a  wit,  he 
might  say,  *  Wit,  whither  wilt  ?  ' 

Rosalind.  You  shall  never  take  her  without  her  answer, 
unless  you  take  her  without  her  tongue.  O,  that  woman  that 
cannot  make  her  fault  her  husband's  occasion,  let  her  never 
nurse  her  child  herself,  for  she  will  breed  it  like  a  fool!   155 

Orlando.   For  these  two  hours,  Rosalind,  I  will  leave  thee. 

Rosalind.    Alas,  dear  love,  I  cannot  lack  thee  two  hours  ! 

Orlando.  I  must  attend  the  Duke  at  dinner  :  by  two 
o'clock  I  will  be  with  thee  again.  159 

Rosalind.    Ay,  go  your  ways,  go  your  ways  :  I  knew  what 

cry  like  any  image  in  a  fountain  which  runs  lamentations."  Accord- 
ing to  Stowe,  such  an  image  of  Diana  with  "  water  conveyed  from 
the  Thames  prilling  from  her  naked  breast  "  was  set  up  at  the  Cross 
in  Cheapside  in  1596. 

140.  hyen :  hyena.  The  bark  of  the  hyena,  "  a  feigning  of  man's 
voice,"  was  thought  to  resemble  a  loud  laugh. 

146.  make:  shut  close.    So  in  The  Comedy  of  Errors,  III,  i,  93. 

151.  '  Wit,  whither  wilt  ? '  An  old  proverbial  saying,  probably  mean- 
ing. Whither  will  your  wit  lead  you  ?    Cf.  I,  ii,  50. 

154.  husband's  occasion.  Hanmer  changed  'occasion'  to  'accusa- 
tion.' The  text  as  it  stands  probably  means,  "that  cannot  represent 
or  make  out  that  her  husband  was  the  occasion  of  her  fault." 


112        THE   NEW  HUDSON   SHAKESPEARE    act  iv 

you  would  prove  ;  my  friends  told  me  as  much,  and  I  thought 
no  less.  That  flattering  tongue  of  yours  won  me  :  't  is  but  one 
cast  away,  and  so, — come, death  !   Two  o'clock  is  your  hour? 

Orlando.   Ay,  sweet  Rosalind.  164 

Rosalind.  By  my  troth,  and  in  good  earnest,  and  so  God 
mend  me,  and  by  all  pretty  oaths  that  are  not  dangerous, 
if  you  break  one  jot  of  your  promise,  or  come  one  minute 
behind  your  hour,  I  will  think  you  the  most  pathetical  break- 
promise,  and  the  most  hollow  lover,  and  the  most  unworthy 
of  her  you  call  Rosalind,  that  may  be  chosen  out  of  the 
gross  band  of  the  unfaithful :  therefore  beware  my  censure 
and  keep  your  promise.  172 

Orlando.  With  no  less  religion  than  if  thou  wert  indeed 
my  Rosalind  :  so  adieu.  174 

Rosalind.  Well,  Time  is  the  old  justice  that  examines  all 
such  offenders,  and  let  Time  try  :  adieu.     \^Exit  Orlando] 

Celia.  You  have  simply  misus'd  our  sex  in  your  love- 
prate  :  we  must  have  your  doublet  and  hose  pluck'd  over 
your  head,  and  show  the  world  what  the  bird  hath  done  to 
her  own  nest.  iSo 

177.  Scene  III  Pope. 

168.  pathetical.  This  word,  used  by  Lodge  in  describing  Phebe's 
indifference  to  Montanus,  meant  sometimes  '  full  of  passion  '  and 
'  sentimental,'  as  well  as  '  affection-moving.'  Rosalind  is  using  it  play- 
fully, with  mock  seriousness.    Warburton  substituted  'atheistical' ! 

175.  Time  is  the  old  justice.     Cf.  Troiliis  and  Cressida,  IV,  v,  224  : 

the  end  crowns  all, 
And  that  old  common  arbitrator,  Time, 
Will  one  day  end  it. 

177.  misus'd:  abused.    So  in  Miicit  Ado  About  N'othing,  II,  i,  246. 

178.  "  I  pray,  quoth  Aliena,  if  your  robes  were  off,  what  mettal 
are  you  made  of  that  you  are  so  satyrical  against  women  ?  is  it  not 
a  foule  bird  that  defiles  its  own  nest .''  "  —  Lodge's  Rosalynde. 


SCENE  II  AS    YOU   LIKE    IT  II3 

Rosalind.  O  coz,  coz,  coz,  my  pretty  little  coz,  that  thou 
didst  know  how  many  fathom  deep  I  am  in  love  !  But  it 
cannot  be  sounded  :  my  affection  hath  an  unknown  bottom, 
like  the  bay  of  Portugal.  184 

Celia.  Or  rather,  bottomless ;  that  as  fast  as  you  pour 
affection  in,  it  runs  out.  186 

Rosalind.  No,  that  same  wicked  bastard  of  Venus  that 
was  begot  of  thought,  conceiv'd  of  spleen,  and  born  of  mad- 
ness, that  blind  rascally  boy  that  abuses  every  one's  eyes 
because  his  own  are  out,  let  him  be  judge  how  deep  I  am 
in  love.  I  '11  tell  thee,  Aliena,  I  cannot  be  out  of  the  sight 
of  Orlando  :  I  '11  go  find  a  shadow  and  sigh  till  he  come. 

Celia.   And  I  '11  sleep.  \_Exeunt\ 

Scene  II.    The  forest 

Enter  Jaques,  Lords,  and  Foresters 

Jaques.    Which  is  he  that  kill'd  the  deer? 

A  Lord.    Sir,  it  was  I. 

Jaques.    Let 's  present  him  to  the  Duke,  like  a  Roman 

Scene  II  |  Scene  IV  Pope.  2.  A  Lord  1  Lord  Ff  Malone. 

192.  shadow  :  a  shady  place.  Cf.  Macbeth,  IV,  iii,  i ;  The  Tempest, 
IV,  i,  67;    Venus  and  Adonis,  191. 

Scene  II.  "  This  noisy  scene  was  introduced  to  fill  up  an  inter- 
val which  is  to  represent  two  hours."  —  Johnson.  Flower,  in  his 
Memorial  Theatre  Editiojt,  has  the  following  interesting  note  in  con- 
nection with  this  scene :  "  On  the  occasion  of  the  first  representa- 
tion of  As  Yon  Like  It  in  the  Memorial  Theatre,  Stratford,  April  30, 
1879,  ^  fallow  deer  was  carried  on  the  stage  by  foresters,  which  had 
been  that  morning  shot  by  H.  S.  Lucy,  Esq.,  of  Charlecote  Park,  of 
the  herd  descended  from  that  upon  which  Shakespeare  is  credited 
with  having  made  a  raid  in  his  youth.  The  deer  is  now  stuffed  and 
carried  on  whenever  the  play  is  acted  in  Stratford." 


114        THE   NEW   HUDSON   SHAKESPEARE    act  iv 

conqueror ;  and  it  would  do  well  to  set  the  deer's  horns 
upon  his  head,  for  a  branch  of  victory.  —  Have  you  no 
song,  forester,  for  this  purpose?  6 

Forester.   Yes,  sir. 

Jaques.  Sing  it :  'tis  no  matter  how  it  be  in  tune,  so  it 
make  noise  enough. 

Song 

Forester.    What  shall  he  have  that  kill'd  the  deer.?  lo 

His  leather  skin,  and  horns  to  wear. 

Then  sing  him  home  : 

[  The  rest  shall  bear  this  burthen'\ 
Take  thou  no  scorn  to  wear  the  horn : 
It  was  a  crest  ere  thou  wast  born  ; 

Thy  father's  father  wore  it,  15 

And  thy  father  bore  it : 
The  horn,  the  horn,  the  lusty  horn, 
Is  not  a  thing  to  laugh  to  scorn.  \_Exeimt'\ 

7.  Forester   Rowe  i  Lord  Ff  |  10.  Song  |  Musicke,  Song  Ff. — 

2  Lord  Malone.  Forester  |  Ff  omit. 

12.  The  Folios  print  the  words,  'Then  sing  him  home,  the  rest 
shall  bear  this  burthen,'  as  the  third  line  of  the  song.  Rowe  and 
Pope  followed  the  Folios;  Theobald  printed  the  second  half  of  the 
line  as  a  stage  direction.  In  previous  editions  of  Hudson's  Shake- 
speare 'They'  was  substituted  for  'Then,'  'bearing'  for  'shall 
bear,'  and  the  whole  line  was  bracketed  as  a  stage  direction.  Knight 
gives  the  music  of  this  song  from  a  curious  and  rare  work,  Catch 
that  Catch  can;  or  a  Choice  Collection  of  Catches,  Rounds,  &'c.,  col- 
lected atid  published  by  John  Hilton,  Batch,  in  Musicke,  1652.  In 
Hilton's  arrangement  'Then  sing  him  home'  is  rejected,  but  as  his 
composition  is  a  round  for  four  voices,  the  omission  was  perhaps 
unavoidable.  See  Furness  for  a  complete  discussion  of  the  "  diver;; 
textual  arrangements." 


SCENK  III  AS    YOU    LIKE    IT  II5 

Scene  III.     The  forest 
Enter  Rosalind  and  Celia 

Rosalind.  How  say  you  now?  Is  it  not  past  two  o'clock? 
and  here  much  Orlando  ! 

Celia.  I  warrant  you,  with  pure  love  and  troubled  brain  he 
hath  ta'en  his  bow  and  arrows  and  is  gone  forth  to  sleep. 
Look,  who  comes  here.  5 

Enter  Silvius 

Silvius.    My  errand  is  to  you,  fair  youth : 
My  gentle  Phebe  bid  me  give  you  this  : 
I  know  not  the  contents ;  but,  as  I  guess 
By  the  stern  brow  and  waspish  action 

Which  she  did  use  as  she  was  writing  of  it,  10 

It  bears  an  angry  tenour  :  pardon  me  ; 
I  am  but  as  a  guiltless  messenger. 

Rosalind.    Patience  herself  would  startle  at  this  letter 
And  play  the  swaggerer ;  bear  this,  bear  all : 
She  says  I  am  not  fair,  that  I  lack  manners ;  15 

She  calls  me  proud,  and  that  she  could  not  love  me, 
Were  man  as  rare  as  phcenix.    'Od's  my  will  ! 
Her  love  is  not  the  hare  that  I  do  hunt : 
Why  writes  she  so  to  me?  — Well,  shepherd,  well, 
This  is  a  letter  of  your  own  device.  20 

Silvius.    No,  I  protest,  I  know  not  the  contents  : 
Phebe  did  write  it. 

Scene  III  I  Scene  V  Pope.  7.  bid  F-2F3F4  |  did  bid  Fi. 

1-5.  Printed  as  verse  in  Ff.  11.  tenour  Theobald  |  tenure  Ff. 

2.  here  much  Orlando.  '  Much  '  is  used  ironically  here  ;  as  we  still 
say,  "A  good  deal  you  will,"  meaning  "  No,  you  won't." 


Il6         THE   NEW  HUDSON    SHAKESPEARE    act  iv 

Rosalind.  Come,  come,  you  are  a  fool. 

And  turn'd  into  the  extremity  of  love. 
I  saw  her  hand  :  she  has  a  leathern  hand, 
A  freestone-colour'd  hand  ;  I  verily  did  think  25 

That  her  old  gloves  were  on,  but  't  was  her  hands  : 
She  has  a  huswife's  hand  ;  but  that 's  no  matter. 
I  say,  she  never  did  invent  this  letter ; 
This  is  a  man's  invention  and  his  hand. 

SiLvius.    Sure,  it  is  hers.  30 

Rosalind.    Why,  't  is  a  boisterous  and  a  cruel  style, 
A  style  for  challengers  ;  why,  she  defies  nie, 
Like  Turk  to  Christian  :   women's  gentle  brain 
Could  not  drop  forth  such  giant-rude  invention, 
Such  Ethiop  words,  blacker  in  their  effect  35 

Than  in  their  countenance.    Will  you  hear  the  letter? 

SiLVius.    So  please  you,  for  I  never  heard  it  yet; 
Yet  heard  too  much  of  Phebe's  cruelty. 

Rosalind.   She  Phebes  me  :  mark  how  the  tyrant  writes : 

\_Reads]    Art  thou  god  to  shepherd  turn'd,  40 

That  a  maiden's  heart  hath  burn'd.''  — 

Can  a  woman  rail  thus? 

SiLVius.    Call  you  this  railing? 
Rosalind.  {Reads'] 

Why,  thy  godliead  laid  apart, 

Warr'st  thou  with  a  woman's  heart? —  45 

Did  you  ever  hear  such  railing?  — 

[Reads]    Whiles  the  eye  of  man  did  woo  me, 

That  could  do  no  vengeance  to  me.  — 

Meaning  me  a  beast.  — 


SCENE  III  AS   YOU   LIKE   IT  II7 

\^Reads~\    If  the  scorn  of  your  bright  eyne  50 

Have  power  to  raise  such  love  in  mine, 
Alack,  in  me  what  strange  effect 
Would  they  work  in  mild  aspect ! 
Whiles  you  chid  me,  I  did  love  ; 
How,  then,  might  your  prayers  move !  55 

He  that  brings  this  love  to  thee 
Little  knows  this  love  in  me : 
And  by  him  seal  up  thy  mind ; 
Wliether  that  thy  youth  and  kind 
Will  the  faithful  offer  take  60 

Of  me  and  all  that  I  can  make ; 
Or  else  by  him  my  love  deny. 
And  then  I  '11  study  how  to  die. 

SiLvius.    Call  you  this  chiding? 

Celia.    Alas,  poor  shepherd  !  65 

Rosalind.  Do  you  pity  him?  no,  he  deserves  no  pity. — 
Wilt  thou  love  such  a  woman?  What,  to  make  thee  an 
instrument  and  play  false  strains  upon  thee  !  not  to  be 
endur'd  !  Well,  go  your  way  to  her,  —  for  I  see  love  hath 
made  thee  a  tame  snake,  —  and  say  this  to  her  :  That,  if 
she  love  me,  I  charge  her  to  love  thee  ;  if  she  will  not,  I 
will  never  have  her  unless  thou  entreat  for  her.  If  you  be  a 
true  lover,  hence,  and  not  a  word  ;  for  here  comes  more 
company.  \_Exii  Silvius] 

68.  strains  Fi  |  strings  F2F3F4. 

50.  eyne :  eyes.  This  form,  with  the  Anglo-Saxon  plural  ending, 
is  used  by  Shakespeare  nine  times,  usually  in  rhymed  passages. 

58.  And  by  him  seal  up  thy  mind :  seal  up  your  answer  and  send 
it  back  by  him. 

59.  kind  :  nature.    Frequently  so  in  Shakespeare. 


Il8        THE   NEW  HUDSON   SHAKESPEARE    act  iv 

E liter  Oliver 

Oliver.  Good  morrow,  fair  ones  :  pray  you,  if  you  know, 
Where  in  the  purlieus  of  this  forest  stands  76 

A  sheep-cote  fenc'd  about  with  olive  trees? 

Celia.    West  of  this  place,  down  in  the  neighbour  bottom  : 
The  rank  of  osiers  by  the  murmuring  stream 
Left  on  your  right  hand  brings  you  to  the  place.  80 

But  at  this  hour  the  house  doth  keep  itself ; 
There  's  none  within. 

Oliver.    If  that  an  eye  may  profit  by  a  tongue, 
Then  should  I  know  you  by  description  ; 
Such  garments  and  such  years  :  '  The  boy  is  fair,  85 

Of  female  favour,  and  bestows  himself 
Like  a  ripe  sister ;  the  woman  low, 

75.  Scene  VI  Pope.  87.  ripe  sister  Ff  |  right  forester  (see 

80.  brings  Fi  |  bring  F2F3F4.  note).  — the  Fi  I  but  the  F2F3F4. 

75.  ones.  Wright  suggests  that  we  should  read  '  one,'  and  Furness 
agrees  with  this  suggestion.  But  in  defense  of  the  text  it  should  be 
remembered  that  'fair'  was  often  applied  to  men  as  well  as  women 
("fair  Sir"),  and  in  1.  85  Oliver  says,  "  The  boy  is  fair." 

76.  purlieus.  "  Land  which  had  .  .  .  been  once  forest  land  and  was 
afterwards  disafforested  was  known  as  'purlieu.'"  —  Eticyclopcrdia 
Britannica,  IX,  409. 

78.  bottom:  valley.  So  in  Zcchariah,  i,  8:  "the  myrtle  trees  that 
were  in  the  bottom." 

86.  favour:  aspect.  See  Skeat.  Cf.  'illfavouredly,'  I,  ii,  35; 
'hard-favour'd,'  III,  iii,  25.  —  bestows  himself:  carries  himself.  Cf. 
T7L10  Goitlemen  of  Verona,  III,  i,  87. 

87.  ripe  sister.  The  oddness  of  this  expression  and  a  seeming 
defect  in  the  metre  led  Lettsom  to  suggest  'right  forester'  as  an 
emendation,  and  th's  was  adopted  in  previous  editions  of  Hudson's 
Shakespeare.  But  with  'ripe'  in  the  sense  of  'grown  up,'  and  the 
full  pause  after  'sister'  being  equal  to  a  syllable,  the  Folio  reading 
becomes  intelligible  and  not  unmetrical. 


SCENE  III  AS    YOU   LIKE    IT  II9 

And  browner  than  her  brother.'    Are  not  you 
The  owner  of  the  house  I  did  inquire  for? 

Celia.    It  is  no  boast,  being  ask'd,  to  say  we  are.  90 

Oliver.    Orlando  doth  commend  him  to  you  both ; 
And  to  that  youth  he  calls  his  Rosalind 
He  sends  this  bloody  napkin.  —  Are  you  he? 

Rosalind,    I  am  :  what  must  we  understand  by  this  ? 

Oliver.    Some  of  my  shame  ;  if  you  will  know  of  me    95 
What  man  I  am,  and  how,  and  why,  and  where 
This  handkercher  was  stain'd. 

Celia.  I  pray  you,  tell  it. 

Oliver.  When  last  the  young  Orlando  parted  from  you, 
He  left  a  promise  to  return  again 

Within  an  hour  ;  and,  pacing  through  the  forest,  100 

Chewing  the  food  of  sweet  and  bitter  fancy, 
Lo,  what  befell !  he  threw  his  eye  aside, 
And  mark  what  object  did  present  itself  : 
Under  an  oak,  whose  boughs  were  moss'd  with  age, 
And  high  top  bald  with  dry  antiquity  105 

A  wretched  ragged  man,  o'ergrown  with  hair. 
Lay  sleeping  on  his  back  :  about  his  neck 

loi.  food  Ff  I  cud  (see  note).  104.  an  oak  Pope  |  an  old  oak  Ff. 

93.  '  Napkin '  and  '  handkerchief '  were  often  used  interchangeably. 
'  Handkercher,'  the  form  in  1.  97,  represents  a  common  provincial 
pronunciation.  "  In  Othello  the  Quarto  reads  '  handkercher,'  the 
Folios  'handkerchief.'"  —  Clar. 

Id.  food.  It  was  Sir  Walter  Scott  (Introduction  to  Quentin  Dur- 
7vard)  who  first  suggested  the  reading  'cud'  adopted  by  Staunton 
and  given  in  previous  editions  of  Hudson's  Shakespeare.  —  sweet 
and  bitter.  Malone  says  that  these  epithets  are  in  accordance  with 
the  old  custom  of  describing  love  by  contraries.  — fancy:  love.  See 
note,  p.  98,  1.  29. 


I20        THE   NEW  HUDSON   SHAKESPEARE    act  iv 

A  green  and  gilded  snake  had  wreath'd  itself, 

Who  with  her  head,  nimble  in  threats,  approach'd 

The  opening  of  his  mouth  ;  but  suddenly,  no 

Seeing  Orlando,  it  unlink'd  itself. 

And  with  indented  glides  did  slip  away 

Into  a  bush  :  under  which  bush's  shade 

A  lioness,  with  udders  all  drawn  dry, 

Lay  couching,  head  on  ground,  with  catlike  watch,  115 

When  that  the  sleeping  man  should  stir ;  for  't  is 

The  royal  disposition  of  that  beast 

To  prey  on  nothing  that  doth  seem  as  dead. 

This  seen,  Orlando  did  approach  the  man. 

And  found  it  was  his  brother,  his  elder  brother.  120 

Celia.    O,  I  have  heard  him  speak  of  that  same  brother ; 
And  he  did  render  him  the  most  unnatural 
That  liv'd  amongst  men.  ^ 

Oliver.  And  well  he  might  so  do, 

For  well  I  know  he  was  unnatural. 

Rosalind.  But,  to  Orlando  :  did  he  leave  him  there,  125 
Food  to  the  suck'd  and  hungry  lioness? 

Oliver.   Twice  did  he  turn  his  back,  and  purpos'd  so ; 
But  kindness,  nobler  ever  than  revenge. 
And  nature,  stronger  than  his  just  occasion. 
Made  him  give  battle  to  the  lioness,  130 

114-118.  In  Lodge's  Rosalyjide  we  have :  "As  thus  he  lay,  a  hungry 
Lyon  came  hunting  downe  the  edge  of  the  grove  for  pray,  and  espy- 
ing Saladyne  began  to  ceaze  upon  him :  but  seeing  he  lay  still  with- 
out any  motion,  he  left  to  touch  him,  for  that  Lyons  hate  to  pray  on 
dead  carkasses ;  and  yet  desirous  to  have  some  foode,  the  Lyon  lay 
downe  and  watcht  to  see  if  he  would  stirre." 

122.  render:  report,  represent,  describe.  Shakespeare  uses 'ren- 
der' repeatedly  in  this  sense,  or  in  senses  akin  to  this. 


SCENE  III  AS   YOU   LIKE    IT  121 

Who  quickly  fell  before  him  :   in  which  hurtling 
From  miserable  slumber  I  awak'd. 

Celia.    Are  you  his  brother? 

Rosalind.  Was  't  you  he  rescu'd? 

Celia.    Was  't  you  that  did  so  oft  contrive  to  kill  him? 

Oliver.    'T  was  I ;  but  't  is  not  I :  I  do  not  shame       135 
To  tell  you  what  I  was,  since  my  conversion 
So  sweetly  tastes,  being  the  thing  I  am. 

Rosalind.    But,  for  the  bloody  napkin  ?  — • 

Oliver.  By  and  by. 

When  from  the  first  to  last  betwixt  us  two 
Tears  our  recountments  had  most  kindly  bath'd,  140 

As  how  I  came  into  that  desert  place ;  — 
In  brief,  he  led  me  to  the  gentle  Duke, 
Who  gave  me  fresh  array  and  entertainment, 
Committing  me  unto  my  brother's  love ; 
Who  led  me  instantly  unto  his  cave,  145 

There  stripp'd  himself ;  and  here  upon  his  arm 
The  lioness  had  torn  some  flesh  away, 
Which  all  this  while  had  bled  ;  and  now  he  fainted 
And  cried,  in  fainting,  upon  Rosalind. 

142.  In  F2F3F4  I  I  Fi. 

131.  hurtling  :  jostling  or  clashing  encounter.  It  is  the  Middle 
English  kurilen,  a  frequentative  of  httrten, '  to  dash  violently  against.' 
Chaucer  uses  the  verb  transitively: 

And  he  him  hurtleth  with  his  hors  adoun. 

The  Knightes  Tale,  1758. 

\n  Julius  CcEsar,  II,  ii,  22,  the  verb  is  used  intransitively: 

The  noise  of  battle  hurtled  in  the  air. 

140.  recountments :  narratives.  Perhaps  a  Shakespearian  coinage 
from  the  verb. 


122        THE    NEW  HUDSOxN   SHAKESPEARE    act  iv 

Brief,  I  recover'd  him  ;  bound  up  his  wound  ;  150 

And,  after  some  small  space,  being  strong  at  heart, 

He  sent  me  hither,  stranger  as  I  am, 

To  tell  this  story,  that  you  might  excuse 

His  broken  promise ;  and  to  give  this  napkin, 

Dyed  in  his  blood,  unto  the  shepherd  youth  ^  155 

That  he  in  sport  doth  call  his  Rosalind. 

Celia.    Why,  how  now,  Ganymede  !  sweet  Ganymede  ! 

[Rosalind  s7voofis'\ 

Oliver.    Many  will  swoon  when  they  do  look  on  blood. 

Celia.   There  is  more  in  it.  —  Cousin  Ganymede  ! 

Oliver.    Look,  he  recovers.  160 

RosALiXD.    I  would  I  were  at  home. 

Celia.  We  '11  lead  you  thither.  — 

I  pray  you,  will  you  take  him  by  the  arm  ? 

Oliver.    Be  of  good  cheer,  youth.    You  a  man  !  you  lack 
a  man's  heart,  164 

Rosalind.    I  do  so,  I  confess  it.    Ah,  sirrah,  a  body  would 


155.  his  F'2F3F4  I  this  Fi.  it  F3F4.— Cousin  Ganymede!  |  Cosen 

157.  [Rosalind  jwoowj]  Ff  omit.  Ganimed.  Fi  I  Cousin  —  Ganymede! 

In  Camb  after  1.  156.  Johnson. 
159  more  in  it  ¥iF-z  \  no  more  in 

155.  his.  "  '  This  blood  '  is  weak  compared  with  '  /u's  blood.'  That 
it  is  his  blood,  Orlando's  very  blood,  makes  Rosalind  faint."  — 
Furness. 

159.  Cousin  Ganymede.  In  previous  editions  of  Hudson's  Shake- 
speare, Johnson's  punctuation  and  his  inteipretation  were  adopted : 
"  Celia,  in  her  first  fright,  forgets  Rosalind's  character  and  disguise,  and 
calls  out '  Cousin,'  then  recollects  herself,  and  says, '  Ganymede.' " 

165.  a  body:  a  person.    The  expression  is  still  used  colloquially 

and  in  dialect : 

Gin  a  body  meet  a  body 
Comin'  through  the  rye. 


SCENE  III  AS    YOU   LIKE    IT  123 

think  this  was  well  counterfeited  !    I  pray  you,  tell  your 
brother  how  well  I  counterfeited.  —  Heigh-ho  !  167 

Oliver.  This  was  not  counterfeit :  there  is  too  great 
testimony  in  your  complexion  that  it  was  a  passion  of 
earnest. 

Rosalind.    Counterfeit,  I  assure  you.  171 

Oliver.  Well  then,  take  a  good  heart  and  counterfeit 
to  be  a  man. 

Rosalind.  So  I  do ;  but  i'  faith,  I  should  have  been  a 
woman  by  right.  175 

Celia.  Come,  you  look  paler  and  paler :  pray  you,  draw 
homewards.  —  Good  sir,  go  with  us. 

Oliver.   That  will  I,  for  I  must  bear  answer  back 
How  you  excuse  my  brother,  Rosalind.  179 

Rosalind.  I  shall  devise  something  :  but,  I  pray  you, 
commend  my  counterfeiting  to  him.  —  Will  you  go? 

169.  a  passion  Fi  |  passion  F-2F3F4. 

166.  Rosalind  is  afraid  of  being  discovered  —  that  her  fainting  will 
betray  her;  and  in  her  anxiety  to  keep  up  the  show  of  a  saucy,  man- 
nish youth,  perhaps  she  slightly  overacts  the  part. 

169-170.  a  passion  of  earnest :  genuine  emotion. 


ACT  V 

Scene  I.    The  forest 
Enter  Touchstone  and  Audrey 

Touchstone.  We  shall  find  a  time,  Audrey ;  patience, 
gentle  Audrey. 

Audrey.  Faith,  the  priest  was  good  enough,  for  all  the 
old  gentleman's  saying.  4 

Touchstone.  A  most  wicked  Sir  Oliver,  Audrey,  a  most 
vile  Martext.  But,  Audrey,  there  is  a  youth  here  in  the 
forest  lays  claim  to  you.  7 

Audrey.  Ay,  I  know  who  't  is  :  he  hath  no  interest  in 
me  in  the  world  :  here  comes  the  man  you  mean.  9 

Touchstone.  It  is  meat  and  drink  to  me  to  see  a  clown  : 
by  my  troth,  we  that  have  good  wits  have  much  to  answer 
for ;  we  shall  be  flouting  ;  we  cannot  hold. 

Enter  William 

William.    Good  ev'n,  Audrey.  13 

Audrey.    God  ye  good  ev'n,  William. 

Efiter  Touchstone  .  .  .    |  Enter  Clowne  ,  .  .  Fi. 

4.  old  gentleman's  saying.  A  man  mature  and  of  sage  speech 
would  readily  be  called  old  by  a  country  girl.  So  nothing  certain 
about  the  age  of  Jaques  need  be  based  upon  Audrey's  expression. 

12.  we  shall  be  flouting:  we  must  be  joking.  For  'shall'  in  the 
sense  of 'must,'  see  Abbott,  §  315.  —  hold  :  restrain  or  hold  in  our  wits. 

14.  God  ye  good  ev'n :  God  give  you  good  even.  This  is  the  origi- 
nal salutation   in  the  process  of  abbreviation  into  'good  even'  or 

124 


SCENE  I  AS   YOU   LIKE   IT  125 

William.   And  good  ev'n  to  you,  sir.  15 

Touchstone.  Good  ev'n,  gentle  friend.  Cover  thy  head, 
cover  thy  head ;  nay,  prithee,  be  cover'd.  How  old  are 
you,  friend? 

William.    Five  and  twenty,  sir. 

Touchstone.    A  ripe  age.    Is  thy  name  William?  20 

William.   William,  sir. 

Touchstone.    A  fair  name.  Wast  born  i'  the  forest  here  ? 

William.   Ay,  sir,  I  thank  God. 

Touchstone.    *  Thank  God  '  —  a  good  answer.    Art  rich  ? 

William.    Faith,  sir,  so  so.  25 

Touchstone.  '  So  so  '  is  good,  very  good,  very  excellent 
good  :  —  and  yet  it  is  not ;  it  is  but  so  so.    Art  thou  wise? 

William.   Ay,  sir,  I  have  a  pretty  wit.  28 

Touchstone.  Why,  thou  say'st  well.  I  do  now  remember 
a  saying,  *  The  fool  doth  think  he  is  wise  ;  but  the  wise 
man  knows  himself  to  be  a  fool.'  The  heathen  philosopher, 
when  he  had  a  desire  to  eat  a  grape,  would  open  his  lips 
when  he  put  it  into  his  mouth ;  meaning  thereby  that 
grapes  were  made  to  eat  and  lips  to  open.  You  do  love 
this  maid?  35 

William.    I  do,  sir. 

Touchstone.    Give  me  your  hand.    Art  thou  learned? 

'good  evening.'  In  Romeo  and  Juliet,  I,  ii,  57,  58,  the  Quartos  and 
Folios  print  '  Godden  '  for  '  Good  even'  and  'Godgigoden  '  for  'God 
give  ye  good  even.' 

17.  William  is  standing  with  his  hat  off,  in  token  of  respect. 

31-35.  William  may  well  be  supposed  to  be  standing  with  his 
mouth  agape.  One  or  two  of  the  expressions  here  have  come 
undoubtedly  from  Lodge  :  "  Phoebe  is  no  lettice  for  your  lippes,  and 
her  grapes  hang  so  high,  that  gaze  at  them  you  may,  but  touch  them 
you  cannot." 


126         THE   NEW  HUDSON   SHAKESPEARE     ACT  v 

William.    No,  sir.  38 

Touchstone.  Then  learn  this  of  me :  to  have,  is  to 
have ;  for  it  is  a  figure  in  rhetoric  that  drink,  being  pour'd 
out  of  a  cup  into  a  glass,  by  filling  the  one  doth  empty  the 
other ;  for  all  your  writers  do  consent  that  ipse  is  he  :  now, 
you  are  not  ipse,  for  I  am  he. 

William.    Which  he,  sir?  44 

Touchstone.     He,  sir,  that   must   marry   this    woman. 

Therefore,  you  clown,  abandon,  —  which  is  in  the  vulgar 

leave,  —  the  society, — which  in  the  boorish  is  company, — 

of  this  female,  —  which  in  the  common  is  woman ;  which 

together  is,  abandon  the  society  of  this  female ;  or,  clown, 

thou  perishest ;  or,  to  thy  better  understanding,  diest ;  or, 

to  wit,  I  kill  thee,  make  thee  away,  translate  thy  life  into 

death,  thy  liberty  into  bondage.    I  will  deal  in  poison  with 

thee,  or  in  bastinado,  or  in  steel ;  I  will  bandy  with  thee  in 

faction ;  I  will  o'er-run  thee  with  policy ;  I  will  kill  thee  a 

hundred  and  fifty  ways  :  therefore  tremble,  and  depart.    55 

Audrey.    Do,  good  William. 

William.   God  rest  you  merry,  sir.  \_Exit'\ 

Enter  Corin 

CoRiN.  Our  master  and  mistress  seeks  you ;  come,  away, 
away !  59 

Touchstone.  Trip,  Audrey  !  trip,  Audrey  !  I  attend,  I 
attend.  {^Exetmt\ 

54.  policy  FJF3F4  I  police  Fi.  57.  merry,  F4  |  merry  F1F2FS. 

53-54.  bandy  with  thee  in  faction :  beat  you  backwards  and  for- 
wards by  means  of  conspiracy.  —  54.  policy  :  stratagem. 

57.  rest  you  merry :  keep  you  merry,  continue  happiness  to  you. 
This  was  a  common  Elizabethan  form  of  farewell. 


SCENE  II  AS   YOU    LIKE    IT  127 

Scene  II.    The  forest 
Enter  Orlando  and  Oliver 

Orlando.  Is  't  possible  that  on  so  little  acquaintance 
you  should  like  her?  that  but  seeing  you  should  love  her? 
and  loving  woo?  and,  wooing,  she  should  grant?  and  will 
you  persever  to  enjoy  her?  4 

Oliver.  Neither  call  the  giddiness  of  it  in  question,  the 
poverty  of  her,  the  small  acquaintance,  my  sudden  wooing, 
nor  her  sudden  consenting  ;  but  say  with  me,  I  love  Aliena ; 
say  with  her  that  she  loves  me  ;  consent  with  both  that  we  may 
enjoy  each  other  :  it  shall  be  to  your  good  ;  for  my  father's 
house,  and  all  the  revenue  that  was  old  Sir  Rowland's,  will  I 
estate  upon  you,  and  here  live  and  die  a  shepherd.  11 

Orlando.  You  have  my  consent.  Let  your  wedding  be 
to-morrow  :  thither  will  I  invite  the  Duke  and  all 's  con- 
tented followers.  Go  you  and  prepare  Ahena ;  for  look 
you,  here  comes  my  Rosalind.  15 

Enter  Rosalind 

Rosalind.    God  save  you,  brother. 

Oliver.    And  you,  fair  sister.  \^Exit'\ 

4.  persever  F1F2  I  persevere  F3F4.  12-15.  Printed  as  verse  in  Ff. 

7.  nor  her  Rowe  |  nor  Ff.  17.  Oliver  |  01.  Fi  |  OrL  F3F4. 

4.  persever.  Always  so  spelled  in  Shakespeare,  down  to  the  pub- 
lication of  the  Third  Folio,  except,  as  Schmidt  notes,  in  the  Quartos 
of  King  Lear.    It  was  accented  on  the  second  syllable. 

II.  estate :  settle,  bestow.     Cf.  The  Tempest,  IV,  i,  85. 

17.  Oliver  has  before  this  learned  from  Celia  the  whole  secret  of 
who  Ganymede  and  Aliena  are.  Hence  he  calls  Rosalind  'sister' 
here,  well  knowing  that  Orlando  will  understand  him  as  referring  to 
the  character  she  is  sustaining  in  her  masked  courtship. 


128         THE   NEW  HUDSON  SHAKESPEARE     act  v 

Rosalind.  O,  my  dear  Orlando,  how  it  grieves  me  to  see 
thee  wear  thy  heart  in  a  scarf  ! 

Orlando.    It  is  my  arm.  20 

Rosalind.  I  thought  thy  heart  had  been  wounded  with 
the  claws  of  a  lion. 

Orlando.    Wounded  it  is,  but  with  the  eyes  of  a  lady. 

Rosalind.  Did  your  brother  tell  you  how  I  counterfeited 
to  swoon  when  he  show'd  me  your  handkercher?  25 

Orlando.    Ay,  and  greater  wonders  than  that. 

Rosalind.  O,  I  know  where  you  are  :  — nay,  'tis  true  : 
there  was  never  any  thing  so  sudden  but  the  fight  of  two 
rams,  and  Caesar's  thrasonical  brag  of  —  *I  came,  saw,  and 
overcame '  :  for  your  brother  and  my  sister  no  sooner  met 
but  they  look'd  ;  no  sooner  look'd  but  they  lov'd ;  no 
sooner  lov'd  but  they  sigh'd ;  no  sooner  sigh'd  but  they 
ask'd  one  another  the  reason ;  no  sooner  knew  the  reason 
but  they  sought  the  remedy  :  and  in  these  degrees  have 
they  made  a  pair  of  stairs  to  marriage  which  they  will  climb 
incontinent :  they  are  in  the  very  wrath  of  love  and  they 
will  together  ;  clubs  cannot  part  them.  37 

25.  swoon  Rowe  |  sound  FjFoFs  I         28.  fight  FiFiFs  I  sight  F4. 
swound  F4.  30.  overcame  F-2F3F4  I  overcome  Fi. 

29.  thrasonical.  From  Thraso,  the  name  of  a  bragging,  vainglori- 
ous soldier  in  the  Eunitckits  of  Terence.  —  29-30.  I  came,  saw,  and 
overcame.  Shakespeare's  unvarying  translation  (as  in  Cymheliiie, 
III,  i,  24;  Lcyvis  Labour ''s  Lost,  IV,  i,  70 ;  2  Henry  IV,  IV,  iii,  46) 
of  Veiii,  vidi,  via',  Cresar's  famous  dispatch  to  the  Roman  Senate. 

36.  incontinent:  immediately.    So  in  Othello,  IV,  iii,  12. 

37.  '  Clubs,  clubs  ! '  was  the  rallying  cry  of  the  'prentices  in  Eliza- 
bethan Ivondon  when  a  street  fray  broke  out  (see  Scott,  T/ie  Fortunes 
of  Nii^el,  Chapter  I).  They  were  not  allowed  to  carry  swords  and 
used  to  quell  (sometimes  raise)  such  disturbances  with  their  'crab- 
tree  staves.'    Cf.  Titus  Attdronicus,  II,  i,  37;  He7iry  /'///,  V,  iv,  53. 


SCENE  II  AS   YOU   LIKE   IT  129 

Orlando.  They  shall  be  married  to-morrow,  and  I  will 
bid  the  Duke  to  the  nuptial.  But,  O,  how  bitter  a  thing  it 
is  to  look  into  happiness  through  another  man's  eyes  !  By 
so  much  the  more  shall  I  to-morrow  be  at  the  height  of 
heart-heaviness,  by  how  much  I  shall  think  my  brother 
happy  in  having  what  he  wishes  for.  43 

Rosalind.  Why  then,  to-morrow  I  cannot  serve  your 
turn  for  Rosahnd  ? 

Orlando.    I  can  live  no  longer  by  thinking.  46 

Rosalind.  I  will  weary  you,  then,  no  longer  with  idle 
talking.  Know  of  me  then,  for  now  I  speak  to  some  pur- 
pose, that  I  know  you  are  a  gentleman  of  good  conceit : 
I  speak  not  this,  that  you  should  bear  a  good  opinion  of 
my  knowledge,  insomuch  I  say  I  know  you  are  ;  neither 
do  I  labour  for  a  greater  esteem  than  may  in  some  little 
measure  draw  a  belief  from  you,  to  do  yourself  good  and 
not  to  grace  me.  Believe,  then,  if  you  please,  that  I  can  do 
strange  things  :  I  have,  since  I  was  three  year  old,  con- 
vers'd  with  a  magician,  most  profound  in  his  art  and  yet 
not  damnable.  If  you  do  love  Rosalind  so  near  the  heart 
as  your  gesture  cries  it  out,  when  your  brother  marries 
Aliena,  shall  you  marry  her  :  I  know  into  what  straits  of 

56.  art  Fi  I  heart  F3F4.  59.  shall  you  F1F2  |  you  shall  F3F4. 

49.  conceit:  sense,  judgment,  understanding.  This  word  is  used 
by  Shakespeare  of  all  the  forms  of  mental  action  and  always  in 
a  good  sense.  '  Wit '  is  also  used  by  the  Elizabethan  writers  with  a 
similar  largeness  of  meaning. 

57.  damnable :  meriting  punishment.  By  an  Elizabethan  statute 
the  practice  of  magic  was  held  to  be  criminal  and  was  punishable 
with  death.  Rosalind  means  that  her  preceptor,  though  a  magician, 
used  magic  only  for  honest  and  charitable  ends ;  such  a  pure  and 
benevolent  magician,  perhaps,  as  Shakespeare  revealed  in  Prospero. 


130        THE   NEW  HUDSON   SHAKESPEARE     act  v 

fortune  she  is  driven  ;  and  it  is  not  impossible  to  me,  if  it 
appear  not  inconvenient  to  you,  to  set  her  before  your  eyes 
to-morrow,  human  as  she  is,  and  without  any  danger.        62 

Orlando.    Speak'st  thou  in  sober  meanings? 

Rosalind.  By  my  life,  I  do ;  which  I  tender  dearly, 
though  I  say  I  am  a  magician.  Therefore,  put  you  in  your 
best  array ;  bid  your  friends ;  for,  if  you  will  be  married 
to-morrow,  you  shall ;  and  to  Rosalind,  if  you  will.  67 

Enter  Silvius  and  Phebe 

Look,  here  comes  a  lover  of  mine  and  a  lover  of  hers. 

Phebe.    Youth,  you  have  done  me  much  ungentleness, 
To  show  the  letter  that  I  writ  to  you.  70 

Rosalind.    I  care  not  if  I  have ;  it  is  my  study 
To  seem  despiteful  and  ungentle  to  you. 
You  are  there  follow'd  by  a  faithful  shepherd  : 
Look  upon  him,  love  him  ;  he  worships  you.  74 

Phebe.    Good  shepherd,  tell  this  youth  what  't  is  to  love. 

Silvius.    It  is  to  be  all  made  of  sighs  and  tears ; 
And  so  am  I  for  Phebe. 

Phebe.    And  I  for  Ganymede. 

Orlando.    And  I  for  Rosalind. 

Rosalind.    And  I  for  no  woman.  80 

62.  human  Rowe  I  humane  Ff.  76.  all  made  F1F2  |  made  all  F3 

69.  Scene  III  Pope.  I<"4. 

61-62.  That  is,  as  Johnson  remarked,  Rosalind  her  very  self,  and 
not  a  mere  phantom  of  her,  conjured  up  by  magic  rites,  such  as  it 
was  dangerous  to  practice. 

64.  tender  dearly:  value  highly.  Rosalind  alludes  to  the  danger 
in  which  her  avowal  of  practicing  magic,  had  it  been  serious,  would 
have  involved  her. 


SCENE  n  AS   YOU   LIKE    IT  131 

SiLvius.    It  is  to  be  all  made  of  faith  and  service ; 
And  so  am  I  for  Phebe. 

Phebe.   And  I  for  Ganymede. 

Orlando.    And  I  for  Rosalind. 

Rosalind.    And  I  for  no  woman.  85 

SiLVius.    It  is  to  be  all  made  of  fantasy, 
All  made  of  passion,  and  all  made  of  wishes ; 
All  adoration,  duty,  and  observance, 
All  humbleness,  all  patience  and  impatience, 
All  purity,  all  trial,  all  observance ;  •         90 

And  so  am  I  for  Phebe. 

Phebe.    And  so  am  I  for  Ganymede. 

Orlando.    And  so  am  I  for  Rosalind. 

Rosalind.    And  so  am  I  for  no  woman. 

Phebe.    If  this  be  so,  why  blame  you  me  to  love  you?  95 

SiLvius.    If  this  be  so,  why  blame  you  me  to  love  you? 

Orlando.    If  this  be  so,  why  blame  you  me  to  love  you? 

Rosalind.  Why  do  you  speak  too,  '  Why  blame  you  me 
to  love  you  ?  ' 

go.  observance  Ff  |  obedience  JIa-  98.  Why  .  .  .  too  Fi  |  Who  ...  to 

lone  conj.  |  endurance  Harness  conj.        Rowe  |  Whom  ...  to  Singer. 
I  devotion  Bailey  conj. 

90.  observance.  The  textual  notes  show  the  conjectural  emenda- 
tions for  this  second  '  observance,'  which  most  editors  regard  as  an 
error.  Fumess  favors  '  obedience  ' ;  in  previous  editions  of  Hudson's 
Shakespeare  '  endurance  '  was  adopted. 

95.  to  love  you :  for  loving  you.  The  indefinite,  gerundive  use  of 
the  infinitive  (Abbott,  §  356). 

98.  Why  do  you  speak  too.  Rowe  corrected  this  to  '  Who  do  you 
speak  to,'  and  this  reading  was  adopted  in  previous  editions  of  Hud- 
son's Shakespeare  on  the  ground  that  the  next  speech  proves  the 
First  Folio  reading  to  be  wrong.  Fumess  says,  "  I  cannot  see  the 
trace  of  a  sufficient  reason  for  deserting  the  Folio." 


132         THE   NEW  HUDSON   SHAKESPEARE     act  v 

Orlando.   To  her  that  is  not  here,  nor  doth  not  hear.  loo 

Rosalind.  Pray  you,  no  more  of  this  ;  '  t  is  like  the  howl- 
ing of  Irish  wolves  against  the  moon.  —  \^To  Silvius]  I  will 
help  you,  if  I  can  : —  \_To  Phebe]  I  would  love  you,  if  I 
could. — To-morrow  meet  me  all  together.  —  [71?  Phebe] 
I  will  marry  you,  if  ever  I  marry  woiman,  and  I  '11  be  mar- 
ried to-morrow  :  —  [77?  Orlando]  I  will  satisfy  you,  if  ever 
I  satisfied  man,  and  you  shall  be  married  to-morrow  :  — 
^To  Silvius]  I  will  content  you,  if  what  pleases  you  con- 
tents you,  and  you  shall  be  married  to-morrow.  —  \_To 
Orlando]  As  you  love  Rosalind,  meet :  —  \^To  Silvius]  As 
you  love  Phebe,  meet :  and  as  I  love  no  woman,  I  '11  meet. 
—  So,  fare  you  well :    I  have  left  you  commands.  1 1 2 

Silvius.    I  '11  not  fail,  if  I  live. 

Phebe.    Nor  I. 

Orlando.    Nor  I.  [_£xeuHt'] 

102-110.  [7't?SiLVius],  [7(7  Phebe],  104.  all  together  F4  I  altogether 

etc.  I  no  stage  directions  in  Ff.  F1F2F3. 

102.  The  suggestion  is  that  this  howhng  of  '  Irish  wolves '  is 
monotonous  and  dismal.  Malone  traces  a  connection  between  the 
expression  and  this  sentence  from  Lodge :  "  I  tell  thee,  Montanus, 
in  courting  Phosbe  thou  barkest  with  the  wolves  of  Syria  against  the 
moone."  But,  as  Furness  says,  "  It  is  a  far  cry,  or,  rather,  a  far  '  bark,' 
from  Syria  to  Ireland."  Caldecott,  too,  points  out  that  the  two 
phrases  are  dissimilar  in  meaning.  Wright  states  that  wolves  held 
their  ground  in  Ireland  until  a  recent  period;  it  was  the  last  of  the 
British  Islands  to  harbor  the  ancient  British  wolf,  and  he  quotes  the 
following  from  Spenser's  A  View  of  the  Present  State  of  IrelattJ : 
"Also  the  Scythians  sayd,  that  they  were  once  every  yeare  turned 
into  wolves,  and  soe  is  it  written  of  the  Irish  :  though  Mr.  Camden 
in  a  better  sence  doth  suppose  it  was  a  disease,  called  Lycanthropia, 
so  named  of  the  wolfe.  And  yet  some  of  the  Irish  doe  use  to  make 
the  wolfe  theyr  gossip." 


SCENE  III  AS    YOU   LIKE    IT  133 

Scene  III.    The  forest 
Enter  Touchstone  and  Audrey 

Touchstone.  To-morrow  is  the  joyful  day,  Audrey ;  to- 
morrow will  we  be  married. 

Audrey.  I  do  desire  it  with  all  my  heart ;  and  I  hope 
it  is  no  dishonest  desire  to  desire  to  be  a  woman  of  the 
world.    Here  come  two  of  the  banish'd  Duke's  pages.         5 

Enter  two  Pages 

First  Page.    Well  met,  honest  gentleman. 

Touchstone.  By  my  troth,  well  met.  Come,  sit,  sit,  and 
a  song. 

Second  Page.    We  are  for  you  :  sit  i'  the  middle.  9 

First  Page.  Shall  we  clap  into  't  roundly,  without  hawk- 
ing, or  spitting,  or  saying  we  are  hoarse,  which  are  the  only 
prologues  to  a  bad  voice?  12 

Second  Page.  I'  faith,  i'  faith ;  and  both  in  a  tune,  like 
two  gipsies  on  a  horse. 

Scene   III  |  Scene    IV    Pope. —       5.  world.  F4  I  world  ?  F1F2F3. 
Touchstone  |  Clowne  Fi.  ii.  the  only  Ff  |  only  the  Capellconj. 

4.  dishonest:  immodest.  Cf. '  honest '  in  I,  ii,  34;  III,  iii,  22.  Ben 
Jonson  described  his  wife  to  Drummond  of  Hawthomden  as  "  a 
shrew,  yet  honest."  —  4-5.  to  be  a  woman  of  the  world :  to  be  married. 
To  be  '  a  woman  of  the  world '  is  opposed  to  being  'a  woman  of  the 
Church,'  which  implied  a  vow  of  perpetual  celibacy.  Cf.  Much  Ado 
About  Nothiui^,  II,  i,  330;    All  'j  Well  that  Ends  Well,  I,  iii,  19-20. 

10.  clap  into  't  roundly:  strike  into  it  directly.  So  in  Measure  for 
Measure,  IV,  iii,  43. 

11.  theonly:  onlythe.  So  in  I,  ii,  171,  where  "only  .  .  .  IfiH"should 
be  "  I  only  fill."    For  this  transposition  of  'only,'  see  Abbott,  §  420. 


134        THE  NEW  HUDSON   SHAKESPEARE     act  v 

Song 

It  was  a  lover  and  his  lass,  15 

With  a  hey,  and  a  ho,  and  a  hey  nonino, 

That  o'er  the  green  corn-field  did  pass 

In  the  spring  time,  the  only  pretty  ring  time, 

W^hen  birds  do  sing,  hey  ding  a  ding,  ding: 

Sweet  lovers  love  the  Spring.  20 

Between  the  acres  of  the  rye. 

With  a  hey,  and  a  ho,  and  a  hey  nonino, 

These  pretty  country  folks  would  lie 
In  spring  time,  etc. 

This  carol  they  began  that  hour,  25 

With  a  hey,  and  a  ho,  and  a  hey  nonino, 

How  that  a  life  was  but  a  flower 
In  spring  time,  etc. 

18.  ring  time  |  rang  time  Ff.  25.  This  F1F2  |  The  F3F4. 

24,  28.  In  FiF'2  I  In  the  F3F4. 

15.  It  was  a  lover  and  his  lass.  Probably  suggested  by  the  song 
sung  by  Lodge's  Corydon  at  the  wedding  feast  : 

A  blythe  and  bonny  country  Lasse, 
Heigh  ho  the  bonny  Lasse. 

16.  hey  nonino.  With  reference  to  these  "  meaningless  burdens  of 
songs  "  Wright  quotes  the  following  from  Coverdale's  Preface  to 
his  Ghostly  Psahns :  "And  if  women,  sitting  at  their  rocks,  or  spin- 
ning at  the  wheels,  had  none  other  songs  to  pass  their  time  withal, 
than  such  as  Moses'  sister,  Glehana's  [Elkanah's]  wife,  Debora,  and 
Mary  the  mother  of  Christ,  have  sung  before  them,  they  should  be 
better  occupied  than  with  hey  nony  nony,  hey  troly  loly,  and  such 
like  phantasies." 

18.  ring  time.  Probably  the  season  for  exchanging  rings,  the 
marriage  time,  but  it  may  have  reference  to  what  Nash  describes 
in  the  second  line  of  his  famous  spring  lyric,  —  "  then  maids  dance 
in  a  ring." 


SCENE  IV  AS   YOU   LIKE   IT  1 35 

And  therefore  take  the  present  time, 

With  a  hey,  and  a  ho,  and  a  hey  nonino ;  30 

For  love  is  crowned  with  the  prime 

In  spring  time,  etc. 

Touchstone,  Truly,  young  gentlemen,  though  there  was 
no  great  matter  in  the  ditty,  yet  the  note  was  very  untune- 
able.  35 

First  Page.  You  are  deceiv'd,  sir  :  we  kept  time,  we  lost 
not  our  time.  37 

Touchstone.  By  my  troth,  yes ;  I  count  it  but  time  lost 
to  hear  such  a  foolish  song.  God  be  wi'  you ;  and  God 
mend  your  voices  !  —  Come,  Audrey.  ^^xeunf'] 

Scene  IV.    TJie  forest 

Enter  Duke  Senior,  Amiens,  Jaques,  Orlando,  Oliver, 
atid  Celia 

Duke  Senior.  Dost  thou  believe,  Orlando,  that  the  boy 
Can  do  all  this  that  he  hath  promised? 

29-32.  Placed  after  \.  19  in  Ff.  39.  be  wi'  |  buy  Ff. 

34-35.  untuneable  Ff  |  untimeable  Scene  IV  |  Scene  V  Pope. 

Theobald. 

29.  In  the  Folios  this  is  the  second  stanza.  Thirlby  suggested  and 
Johnson  made  the  transposition  now  generally  accepted  —  a  trans- 
position found  too  in  a  valuable  seventeenth  century  manuscript  ver- 
sion of  the  song  in  the  Advocates'  Library,  Edinburgh. 

34.  matter:  sense,  meaning. — 34-35-  untuneable.  For  this  Theo- 
bald substituted  'untimeable,'  but  'tune'  and  'time'  were  formerly 
almost  synonymous.  Wright  suggests  that  Theobald  forgot  that 
Touchstone  is  the  speaker.  "  The  page  misunderstands  him  in  order 
to  give  him  an  opening  for  another  joke."  —  Clar. 

39.  God  be  wi'  you.     See  note,  p.  79,  1.  244. 


136        THE    NEW  HUDSON   SHAKESPEARE     act  v 

Orlando.  I  sometimes  do  believe,  and  sometimes  do  not ; 
As  those  that  fear  they  hope,  and  know  they  fear.  4 

Etiter  Rosalind,  Silvius,  and  Phebe 

Rosalind.    Patience  once  more,  whiles  our  compact  is 
urg'd.  — 
You  say,  if  I  bring  in  your  Rosalind, 
You  will  bestow  her  on  Orlando  here?  7 

Duke  Senior.   That  would  I,  had  I  kingdoms  to  give 
with  her. 

Rosalind.  And  you  say,  you  will  have  her,  when  I  bring  her  ? 

Orlando.    That  would  I,  were  I  of  all  kingdoms  king.  10 

Rosalind.    You  say,  you  '11  marry  me,  if  I  be  willing? 

Phebe.    That  will  I,  should  I  die  the  hour  after. 

Rosalind.    But  if  you  do  refuse  to  marry  me. 
You  '11  give  yourself  to  this  most  faithful  shepherd? 

Phebe.    So  is  the  bargain.  15 

Rosalind.   You  say,  that  you  '11  have  Phebe,  if  she  will? 

Silvius.    Though  to  have  her  and  death  were  both  one 
thing. 

Rosalind.    I  've  promis'd  to  make  all  this  matter  even. 
Keep  you  your  word,  O  Duke,  to  give  your  daughter ;  — 
You  yours,  Orlando,  to  receive  his  daughter  :  —  20 

Keep  your  word,  Phebe,  that  you  '11  marry  me, 

14.  shepherd?  Capell  1  Shcpheaid.  Ff.  21.  your  Rowe  1  you  your  Ff. 

4.  Many  emendations  (see  Furness)  have  been  suggested  for  this 
reading  of  the  Folios.  The  general  meaning  is  clear  :  As  those  that 
fear  lest  they  may  believe  a  thing  because  they  wish  it  true,  and  at 
the  same  time  know  that  this  fear  is  no  better  ground  of  action  than 
their  hope.  Who  has  not  sometime  caught  himself  in  a  similar  per- 
plexity of  hope  and  fear? 


SCENE  IV  AS   YOU   LIKE    IT  137 

Or  else  refusing  me,  to  wed  this  shepherd  :  — 
Keep  your  word,  Silvias,  that  you  '11  marry  her. 
If  she  refuse  me  :  —  and  from  hence  I  go. 
To  make  these  doubts  all  even.  25 

[^Exeunt  Rosalind  and  Celia] 

Duke  Senior.    I  do  remember  in  this  shepherd  boy 
Some  lively  touches  of  my  daughter's  favour. 

Orlando.    My  lord,  the  first  time  that  I  ever  saw  him 
Methought  he  was  a  brother  to  your  daughter  : 
But,  my  good  lord,  this  boy  is  forest-born,  30 

And  hath  been  tutor'd  in  the  rudiments 
Of  many  desperate  studies  by  his  uncle, 
Whom  he  reports  to  be  a  great  magician, 
Obscured  in  the  circle  of  this  forest.  34 

Etiter  Touchstone  afid  Audrey 

Jaques.  There  is,  sure,  another  flood  toward,  and  these 
couples  are  coming  to  the  ark.  Here  comes  a  pair  of  very 
strange  beasts,  which  in  all  tongues  are  call'd  fools.  37 

Touchstone.    Salutation  and  greeting  to  you  all ! 

Jaques.    Good  my  lord,  bid  him  welcome  :   this  is  the 

26.  shepherd  F1F2F3  I  shepherds  Enter  Touchstone  .  .  .  |  Enter 
F4.                                                                   Clowne  and  Audrey  Ff  (after  1.  33). 

35.  Scene  VI  Pope. 

27.  favour:  aspect,  look.    See  note,  p.  n8,  1.  86. 

29.  This  shows  the  danger  Rosalind  has  been  in  of  being  dis- 
covered, notwithstanding  her  disguise.  Doubtless  we  have  all  found 
how  one  face  will  sometimes  remind  us  of  another  by  tricks  of  asso- 
ciation too  subtle  for  our  tracing,  so  that  we  seem  at  the  same  time 
to  know  and  not  to  know  the  stranger. 

38.  Touchstone  affects  the  manners  and  language  of  the  court. 


138        THE  NEW  HUDSON   SHAKESPEARE     act  v 

motley-minded  gentleman  that  I  have  so  often  met  in  the 
forest :  he  hath  been  a  courtier,  he  swears.  41 

Touchstone.  If  any  man  doubt  that,  let  him  put  me  to 
my  purgation.  I  have  trod  a  measure  ;  I  have  flatter'd  a 
lady ;  I  have  been  politic  with  my  friend,  smooth  with  mine 
enemy ;  I  have  undone  three  tailors ;  I  have  had  four 
quarrels,  and  like  to  have  fought  one.  46 

Jaques.    And  how  was  that  ta'en  up? 

Touchstone.  Faith,  we  met,  and  found  the  quarrel  was 
upon  the  seventh  cause.  49 

Jaques.  How  seventh  cause  ?  —  Good  my  lord,  like  this 
fellow. 

Duke  Senior.    I  like  him  very  well.  52 

44.  been  F4  I  bin  FiFjFs.  50.  seventh  F1F2  I  the  seventh  F3F4. 

42-43.  put  me  to  my  purgation :  make  me  swear  to  the  truth  of 
the  matter.  See  note,  p.  29,  1.  49.  People  were  often  called  upon 
or  permitted  to  'purge'  or  clear  themselves  of  imputed  guilt  by 
thus  affirming  their  innocence  under  oath.  Sometimes  a  man  got 
others  to  swear  with  him,  and  these  were  called  compurgators.  — 
43.  a  measure.  The  '  measure '  was  a  grave,  solemn  dance,  with  a 
slow  and  measured  step,  somewhat  like  a  minuet,  and  therefore  well 
comporting  with  the  dignity  of  the  court. 

44-45.  Touchstone  implies  that  to  use  sharp  practice  on  one's 
friend,  to  cajole  and  beguile  one's  enemy,  and  to  bankrupt  one's 
tailors  by  running  up  huge  accounts  and  leaving  them  unpaid,  are 
characteristics  of  courts  and  courtiers. 

47.  ta'en  up:  made  up.    So  in  Twelfth  A^ii^ht,  III,  iv,  320. 

49.  seventh  cause.  This  means,  apparently,  that  the  quarrel  had 
proceeded  through  six  degrees  from  the  original  ground  or  starting 
point,  and  so  had  come  to  the  seventh  degree,  the  "  Lie  Direct," 
where  nothing  but  an  'if  could  save  the  parties  from  the  necessity 
of  fighting  it  out.  In  Romeo  and  Juliet,  II,  iv,  26,  Tybalt  is  de- 
scribed as  "a  gentleman  of  the  very  first  house,  —  of  the  first  and 
second  cause";  that  is,  one  who  will  fight  on  the  slightest  provocation. 


SCENE  IV  AS    YOU    LIKE    IT  139 

Touchstone.  God  'ild  you,  sir;  I  desire  you  of  the  like. 
I  press  in  here,  sir,  amongst  the  rest  of  the  country  copula- 
tives, to  swear  and  to  forswear,  according  as  marriage  binds 
and  blood  breaks.  A  poor  virgin,  sir,  an  ill-favour'd  thing, 
sir,  but  mine  own ;  a  poor  humour  of  mine,  sir,  to  take  that 
that  no  man  else  will :  rich  honesty  dwells  like  a  miser,  sir, 
in  a  poor  house  ;  as  your  pearl  in  your  foul  oyster.  59 

Duke  Senior.  By  my  faith,  he  is  very  swift  and  sententious. 

Touchstone.  According  to  the  fool's  bolt,  sir,  and  such 
dulcet  diseases.  62 

Jaques.  But,  for  the  seventh  cause  ;  how  did  you  find 
the  quarrel  on  the  seventh  cause?  64 

Touchstone.  Upon  a  lie  seven  times  remov'd  ;  —  bear 
your  body  more  seeming,  Audrey ;  —  as  thus,  sir :   I  did 

59.  foul  omitted  in  F3F4.  62.  diseases  |  discourses  Johnson  conj. 

53.  God  'ild  you  :  God  yield  you,  God  reward  you.  So  in  III,  iii, 
66.  —  I  desire  you  of  the  like  :   I  wish  you  the  same. 

54-55.  copulatives.  A  word  coined  by  Touchstone  to  describe 
people  wishing  to  be  married. 

56.  blood :  passion.    It  connotes  impulse,  as  opposed  to  reason. 

57.  but  mine  own.  Touchstone  here  just  hits  the  very  pith  of  the 
matter.  It  is  by  such  strokes  as  this  that  Shakespeare  keeps  the  man, 
fool  though  he  be,  bound  up  fresh  and  warm  with  our  human  sym- 
pathies. Celia  gives  the  keynote  of  his  real,  inside  character,  when 
she  says,  "  He  '11  go  along  o'er  the  wide  world  with  me." 

59.  your.  The  personal  pronouns  were  often  used  thus  in  an 
indefinite  sense  of  what  is  well  known.    So  in  III,  ii,  52. 

60.  swift :  quick-witted. . —  sententious  :  full  of  pithy  sayings. 

61.  bolt:  a  short,  thick,  blunt  arrow  for  shooting  near  objects. 
It  required  little  practice  or  skill.  Cf.  Henry  V,  III,  vii,  132 :  "A 
fool's  bolt  is  soon  shot." 

62.  dulcet  diseases.  The  sense  of  this  probably  lies  in  the  circum- 
stance of  its  being  meant  for  what  Barrow  calls  "  acute  nonsense." 

66.  seeming  :  seemingly.    The  adjective  for  the  adverb. 


140        THE   NEW   HUDSON   SHAKESPEARE     act  v 

dislike  the  cut  of  a  certain  courtier's  beard  :  he  sent  me  word, 
if  I  said  his  beard  was  not  cut  well,  he  was  in  the  mind  it 
was  :  this  is  call'd  the  Retort  Courteous.  If  I  sent  him 
word  again,  '  it  was  not  well  cut,'  he  would  send  me  word, 
he  cut  it  to  please  himself :  this  is  call'd  the  Quip  Modest. 
If  again,  '  it  was  not  well  cut,'  he  disabl'd  my  judgment : 
this  is  call'd  the  Reply  Churlish.  If  again,  '  it  was  not  well 
cut,'  he  would  answer,  I  spake  not  true  :  this  is  call'd  the 
Reproof  Valiant.  If  again,  '  it  was  not  well  cut,'  he  would 
say,  I  lie  :  this  is  call'd  the  Countercheck  Quarrelsome  : 
and  so  to  the  Lie  Circumstantial  and  the  Lie  Direct.        77 

Jaques.  And  how  oft  did  you  say  his  beard  was  not  well 
cut?  79 

Touchstone.  I  durst  go  no  further  than  the  Lie  Circum- 
stantial, nor  he  durst  not  give  me  the  Lie  Direct ;  and  so 
we  measur'd  swords,  and  parted.  82 

Jaques.  Can  you  nominate  in  order  now  the  degrees  of 
the  lie?  84 

Touchstone.  O  sir,  we  quarrel  in  print,  by  the  book ;  as 
you  have  books  for  good  manners  :  I  will  name  you  the 
degrees.  The  first,  the  Retort  Courteous ;  the  second,  the 
Quip  Modest ;  the  third,  the  Reply  Churlish ;  the  fourth, 

76.  lie  Ff  I  lied  Ilanmer.  77.  so  to  the  F2F3F4  |  so  ro  Fi. 

72.  disabl'd:  disparaged,  disqualified.     So  in  IV,  i,  31. 

85.  by  the  book.  Warburton  first  suggested  that  '  the  book ' 
referred  to  is  a  fantastic  treatise  on  dueling  by  one  Vincentio  Saviolo, 
printed  in  1 594-1 595,  but  Furness  thinks  that,  if  Shakespeare  had 
any  particular  book  in  view,  it  may  just  as  likely  have  been  The  Book 
of  Honor  and  Arms,  tuherein  is  discoursed  the  Causes  of  Quarrel!,  and 
the  nature  of  Iitiuries,  with  their  Repulses,  &=€.  (1590). 

86.  books  for  good  manners.  The  sixteenth  century  saw  the  publi- 
cation of  several  treatises  on  etiquette. 


AS    YOU   LIKE    IT 


141 


the  Reproof  Valiant ;  the  fifth,  the  Countercheck  Quarrel- 
some ;  the  sixth,  the  Lie  with  Circumstance ;  the  seventh, 
the  Lie  Direct.  All  these  you  may  avoid,  but  the  Lie 
Direct;  and  you  may  avoid  that  too  with  an  If,  I  knew 
when  seven  justices  could  not  take  up  a  quarrel;  but  when 
the  parties  were  met  themselves,  one  of  them  thought  but 
of  an  If,  as  'If  you  said  so,  then  I  said  so';  and  they 
shook  hands,  and  swore  brothers.  Your  If  is  the  only  peace- 
maker ;  much  virtue  in  If.  97 

Jaques.  Is  not  this  a  rare  fellow,  my  lord  ?  he  's  as  good 
at  any  thing,  and  yet  a  fool. 

Duke  Senior.  He  uses  his  folly  like  a  stalking-horse,  and 
under  the  presentation  of  that  he  shoots  his  wit.  101 

Enter  Hymen,  Rosalind,  and  Celia 

Still  Music 

Hymen.        Then  is  there  mirth  in  heaven, 

When  earthly  things  made  even  103 

Atone  together.  — 

102.  Scene  VII  Pope.  Rosalind  |  Rosalind inWoman's 

Clothes  Rowe. 

100.  a  stalking-horse.  "A  horse,  either  real  or  fictitious,  by  which 
the  fowler  anciently  sheltered  himself  from  the  sight  of  the  game." 
—  Steevens.  The  '  fictitious  '  horse  was  usually  a  piece  of  stretched 
canvas  with  a  horse  painted  on  it. 

102.  Hymen.  Rosalind  is  imagined  by  the  rest  of  the  company  to 
be  brought  by  enchantment,  and  is  introduced  by  a  supposed  aerial 
being  in  the  character  of  Hymen.  The  masque  in  The  Tempest  resem- 
bles this,  and  is  similarly  accompanied  by  soft,  or  '  still,'  music. 

104.  atone  together:  are  at  one.  The  Folio  spelling  'attone'  has 
led  to  the  conjecture  that  'attune  '  should  be  read  here.  The  verb 
•atone'  does  not  occur  in  the  Bible  (King  James  version). 


142        THE  NEW  HUDSON   SHAKESPEARE     act  v 

Good  Duke,  receive  thy  daughter  :  105 

Hymen  from  heaven  brought  her, 

Yea,  brought  her  hither, 
That  thou  mightst  join  her  hand  with  his 
Whose  heart  within  his  bosom  is.  109 

Rosalind.  [To  the  Duke]  To  you  I  give  myself,  for  I 
am  yours.  — 
\_To  Orlando]  To  you  I  give  myself,  for  I  am  yours. 
Duke  Senior.    If  there  be   truth  in  sight,  you  are  my 
daughter.  1 1 2 

Orlando.    If  there  be  truth  in  sight,  you  are  my  Rosalind. 
Phebe.    If  sight  and  shape  be  true. 
Why,  then,  —  my  love  adieu  !  115 

Rosalind.  [7J?  the  Duke]   I  '11  have  no  father,  if  you  be 
not  he  :  — 
\_To  Orlando]   I  '11  have  no  husband,  if  you  be  not  he  :  — 
\_To  Phebe]   Nor  ne'er  wed  woman,  if  you  be  not  she. 
Hymen.    Peace,  ho  !  I  bar  confusion  : 

'T  is  I  must  make  conclusion  120 

Of  these  most  strange  events  : 

Here  's  eight  that  must  take  hands 

To  join  in  Hymen's  bands. 

If  truth  holds  true  contents.  — 

107.  hither  F.!F4  |  hether  FiF-2.  109.  his  Ff  |  her  Malone. 

108.  her  hand  FyFj  1  his  hand  F1F2.  114-115.  Ff  print  as  one  line. 

109.  his.  Almost  all  modern  editors  adopt  Malone's  emendation 
•her';  but  if  we  take  'her'  in  the  preceding  line  as  the  antecedent 
of  'whose,'  the  Folio  reading  becomes  intelligible. 

no.  Rowe,  Pope,  and  Johnson  introduced  the  stage  directions  in 
this  scene. 

124.  If  there  be  truth  in  truth  itself.    "  If  truth  contains  truth." 


SCENE  IV  AS    YOU   LIKE    IT  143 

[  To  Orlando  and  Rosalind]  You  and  you  no  cross  shall 
part: —  125 

\To  Oliver  arid  Celia]  You  and  you  are  heart  in  heart:  — 

\_To  Phebe]  You  to  his  love  must  accord, 

Or  have  a  woman  to  your  lord  :  — 

\To  Touchstone  a//^  Audrey]  You  and  you  are  sure  together, 
As  the  winter  to  foul  weather,  130 

Whiles  a  wedlock-hymn  we  sing. 
Feed  yourselves  with  questioning ; 
That  reason  wonder  may  diminish, 
How  thus  we  met,  and  these  things  finish. 

Song 

Wedding  is  great  Juno's  crown  :  135 

O  blessed  bond  of  board  and  bed  ! 

'Tis  Hymen  peoples  every  town  ; 

High  wedlock,  then,  be  honoured  : 

Honour,  high  honour,  and  renown, 

To  H}^Tnen,  god  of  every  town  !  140 

Duke  Senior.  O  my  dear  niece,  welcome  thou  art  to  me, 
Even  daughter,  welcome,  in  no  less  degree  ! 

Phebe.  \To  Silvius]   I  will  not  eat  my  word,  now  thou 
art  mine ; 
Thy  faith  my  fancy  to  thee  doth  combine.  144 

142.    daughter,     welcome     F4   I         welcome  Theobald, 
daughter  welcome,  FiF^Fa  I  daughter-  143.  [To  Silvius]  Capell. 

132.  questioning  :  conversation.    So  with  'question'  in  1.  155. 

142.  The  variations  in  punctuation  indicated  in  the  textual  notes 
do  not  make  any  essential  difference  in  the  meaning —  'welcome  as 
a  daughter  equally  with  Rosalind.' 

144.  combine:  bind.    So  in  Measure  for  Meastire,  IV,  iii,  149. 


144        THE  NEW  HUDSON   SHAKESPEARE     act  v 

Enter  Jaques  de  Boys 

Jaques  de  Boys.   Let  me  have  audience  for  a  word  or  two  : 
I  am  the  second  son  of  old  Sir  Rowland,  146 

That  bring  these  tidings  to  this  fair  assembly  : 
Duke  Frederick,  hearing  how  that  every  day 
Men  of  great  worth  resorted  to  this  forest, 
Address'd  a  mighty  power;  which  were  on  foot,  15c 

In  his  own  conduct,  purposely  to  take 
His  brother  here  and  put  him  to  the  sword  : 
And  to  the  skirts  of  this  wild  wood  he  came ; 
Where  meeting  with  an  old  religious  man, 
After  some  question  with  him,  was  converted  155 

Both  from  his  enterprise  and  from  the  world ; 
His  crown  bequeathing  to  his  banish'd  brother, 
And  all  their  lands  restor'd  to  them  again 
That  were  with  him  exil'd.    This  to  be  true, 
I  do  engage  my  life. 

Duke  Senior.  Welcome,  young  man ;  160 

Thou  offer'st  fairly  to  thy  brothers'  wedding  : 
To  one  his  lands  withheld  ;  and  to  the  other 
A  land  itself  at  large,  a  potent  dukedom. 
First,  in  this  forest  let  us  do  those  ends 


145.  Scene  VIII  Pope.  158.  them  Rowe  I  him  Ff. 

Enter  Jaques  Dii  Boys  |  Enter  161.  brothers'    Capell   |    brothers 

Second  Brother  Ff.  FiFjFa. 

150.  Address'd  :  prepared,  made  ready,  as  in  Henry  I',  III,  iii,  5S. 

151.  In  his  own  conduct :  under  his  own  command. 

162.  The  '  one '  is  Oliver,  whose  lands  had  been  seized  by  P'red- 
erick  ;  'the  other'  is  Orlando,  who  with  Rosalind  is  to  inherit  the 
dukedom,  she  being  the  old  Duke's  only  child.  The  sense  of 
♦  offer'st'  is  continued  through  these  two  lines. 


SCENE  IV  AS    YOU   LIKE    IT  I45 

That  here  were  well  begun  and  well  begot ;  165 

And  after,  every  of  this  happy  number, 

That  have  endur'd  shrewd  days  and  nights  with  us. 

Shall  share  the  good  of  our  returned  fortune, 

According  to  the  measure  of  their  states. 

Meantime  forget  this  new-fall'n  dignity,  170 

And  fall  into  our  rustic  revelry.  — 

Play,  music  !  —  and  you,  brides  and  bridegrooms  all, 

With  measure  heap'd  in  joy,  to  th'  measures  fall. 

Jaques.  Sir,  by  your  patience.  —  If  I  heard  you  rightly. 
The  Duke  hath  put  on  a  religious  life,  175 

And  thrown  into  neglect  the  pompous  court? 

Jaques  de  Boys.    He  hath. 

Jaques.   To  him  will  I  :  out  of  these  convertites 
There  is  much  matter  to  be  heard  and  learn'd. —  179 

[  To  Duke  Senior]  You  to  your  former  honour  I  bequeath ; 
Your  patience  and  your  virtue  well  deserves  it :  — 
[7^  Orlando]   You  to  a  love   that  your  true  faith  doth 
merit :  —  182 

[  To  Oliver]  You  to  your  land,  and  love,  and  great  allies  :  — 

180-185.  \To  Duke  Senior],  \^To  181.  deserves  Ff  |  deserve  Pope. 
Orlando],  etc.  Rowe  |  not  given  in  Ff. 

167.  shrewd  :  sharp,  bitter.  "  The  air  bites  shrewdly."  The  root- 
notion  of  'biting'  still  survives  in  'shrew-mouse.'  In  Chaucer  the 
adjective  shrewd  means  'evil,'  'accursed,'  while  the  noun  shrewe 
means  a  'scoundrel '  as  well  as  an  'ill-natured  person.' 

169.  states :  estates.  In  Shakespeare  the  two  words  are  used 
interchangeably,  as  in  The  Merchant  of  Venice,  III,  ii,  239,  262. 

175.  put  on  a  religious  life.  This  probably  should  be  taken  lit- 
erally in  the  sense  of  having  put  on  a  monk's  or  hermit's  dress  — 
the  badge  of  a  religious  life. 

176.  pompous  :  ceremonious.     This  is  the  true,  original  meaning. 
178.   convertites:  converts.     Cf.  King  John,  V,  i,  19. 


146        THE   NEW  HUDSON    SHAKESPEARE     act  v 

[7^  SiLVius]  You  to  a  long  and  well-deserved  bed  :  — 
[To  Touchstone]  And  you  to  wrangling;   for  thy  loving 
voyage  185 

Is  but  for  two  months  victuall'd.  — So,  to  your  pleasures  : 
I  am  for  other  than  for  dancing  measures. 

Duke  Senior.    Stay,  Jaques,  stay. 

Jaques.  To  see  no  pastime  I  :  what  you  would  have  189 
I  '11  stay  to  know  at  your  abandon'd  cave.  [£xti^ 

Duke  Senior.  Proceed,  proceed  :  we  will  begin  these  rites, 
As  we  do  trust  they  '11  end,  in  true  delights.  [A  dance'] 

EPILOGUE 

Rosalind.  It  is  not  the  fashion  to  see  the  lady  the  epi- 
logue; but  it  is  no  more  unhandsome  than  to  see  the  lord 
the  prologue.  If  it  be  true  that  good  wine  needs  no  bush, 
't  is  true  that  a  good  play  needs  no  epilogue  :  yet  to  good 
wine  they  do  use  good  bushes ;  and  good  plays  prove  the 
better  by  the  help  of  good  epilogues.  What  a  case  am  I  in 
then,  that  am  neither  a  good  epilogue,  nor  cannot  insinuate 
with  you  in  the  behalf  of  a  good  play  !  I  am  not  furnish'd 
like  a  beggar,  therefore  to  beg  will  not  become  me  :  my 
way  is  to  conjure  you  ;  and  I  '11  begin  with  the  women.  I 
charge  you,  O  women,  for  the  love  you  bear  to  men,  to  like 
as  much  of  this  play  as  please  you  :  and  I  charge  you,  O 

191.  rites  Rowe  |  rights  Ff.  12.  please  F1F2  I  pleases  F3F4. 

Epilogue.  Theobald  was  the  first  to  print  this  as  an  epilogue. 
Seymour  regarded  what  follows  as  spurious. 

3.  A  bush  of  ivy  was  in  old  England  a  common  vintner's  sign,  ivy 
being  sacred  to  Bacchus.  So  in  Nash's  Summer's  Last  Will  and 
Testametit :  "Green  ivy-bushes  at  the  vintners'  doors." 


SCENE  IV  AS   YOU   LIKE    IT  147 

men,  for  the  love  you  bear  to  women,  (as  I  perceive  by  your 
simpering,  none  of  you  hates  them,)  that  between  you  and 
the  women  the  play  may  please.  If  I  were  a  woman,  I  would 
kiss  as  many  of  you  as  had  beards  that  pleas'd  me,  com- 
plexions that  lik'd  me  and  breaths  that  I  defied  not :  and, 
I  am  sure,  as  many  as  have  good  beards  or  good  faces  or 
sweet  breaths  will,  for  my  kind  offer,  when  I  make  curtsy, 
bid  me  farewell.  \_Exeuni'\ 

14.  bates  Ff  |  hate  Pope.  20.  [^Exenni]  F2F3F4  |  Exit  Fi. 

15.  If  I  were  a  woman.  This  epilogue  was  spoken  in  his  own 
person  by  the  youth  who  had  acted  the  part  of  Rosahnd.  The  parts 
of  women  were  taken  by  men  or  boys  in  Shakespeare's  time. 
Women  did  not  appear  on  the  public  stage  until  after  the  Restora- 
tion, though  there  is  clear  enough  evidence  that  they  had  acted 
often  before  1660  in  masques  and  private  dramatic  performances. 

17.  lik'd:  pleased.  So  in  T/ie  Two  Geiitlerfien  of  Verona, lY,n,^6, 
• —  defied :  disliked,  repudiated.    So  in  King  John,  III,  iv,  23. 


INDEX 

This  Index  includes  the  most  important  words,  phrases,  etc.,  explained  in 
the  notes.  The  figures  in  heavy-faced  type  refer  to  the  pages ;  those  in  plain 
type,  to  the  lines  containing  what  is  explained. 


a  body:  122  165. 
a  many:  9  106. 
a  week:  43  74. 
Adam  :  3  l. 
address'd:  144  150. 
adjective    as   adverb : 

139  66. 
adverb    as    adjective : 

13  35,  19  136. 
Aliena :  32  I34. 
all  the  world 's  a  stage : 

60  138. 
allottery :  7  66. 
anacoluthon:  35  8. 
anatomize:  11  139. 
and  (if):  22  188,  59  lOO, 

105  28. 
Arden :  9  105. 
argument :  64  3. 
as  (to  wit):  34  6. 
as  large  a  charter  as 

the  wind  :  56  48. 
Atalanta's  better  part : 

73  139. 
Atalanta's   heels :    80 

263. 
atomies:  78  219. 
atone  together :  141104. 
attorney :  108  S5. 
attraction   of   verb   to 

nearest  subject:  31 

93. 
Audrey:  87  l. 
bandy  in  faction:  12653. 


Barbary  cock-pigeon : 
110  136. 

batler:  46  46. 

Baucis:  88  8. 

be  cover'd:  9268, 125 17. 

be  entreated:  19  133. 

be  naught  awhile:  5  31. 

because  thou  art  not 
seen:  62  177. 

beholding :  107  55. 

bestows  himself:  118 
86. 

better  part:  64  2. 

better  world  :  26  264. 

bills  on  their  necks  :  17 
108. 

biscuit :  55  39. 

bites  and  blows  :  35  8. 

blank  verse  :  105  28. 

blood:  139  56. 

blue  eye  :  84  349. 

bob :  5  6  55. 

bolt:  139  61. 

bonny:  41  8. 

books  for  good  man- 
ners:  140  86. 

bottom:  118  78. 

bow  (yoke) :  92  70. 

bravery  :  5  7  80. 

breath'd:  22  198. 

bring  me  out :  79  238. 

broken  bankrupt:  38  57. 

broken  music:   18  125. 

bugle  eyeballs  :  99  47. 
149 


burghers  of  this  desert 

city  :  36  23. 
bush  of  ivy:   146  3. 
but  I:   12  14. 
but  I  were  better :  92  79. 
but  you  kiss:  68  46. 
butchery:  42  27. 
butter-women's  rankto 

market :  70  90. 
by  attorney:  108  85. 
by  him    seal   up   thy 

mind:   117  58. 
by  the  book  :  140  85. 
Cesar's   thrasonical 

brag:   128  29. 
call  fools  into  a  circle : 

52  57. 
calling:  23  213. 
capable    impressure: 

98  23. 
capricious  :  88  6. 
carelessly:  9  108. 
carlot :  102  107. 
cast:  94  15. 
censure :  104  7. 
change:  31  98. 
character :  65  6. 
chopt :  46  47. 
chroniclers:  109  94. 
city- woman  :  57  75. 
civil  sayings:  72  120. 
civility:  58  93. 
clap    into  't    roundly: 

133  10. 


ISO 


THE   NEW  HUDSON   SHAKESPEARE 


clapp'd  him  o'  the 
shoulder:  106  43. 

clubs  :  128  37. 

colour:   16  90. 

combine  :   143  144. 

comfort:  52  5. 

coming-on  disposition : 
109  101. 

commission:   110  124. 

compact  of  jars:  53  5. 

complain  of  good  breed- 
ing :  67  28. 

conceit:   52  7,  129  49. 

condition :  25  244. 

condition  of  blood  :  5  40. 

consent  and  sufferance: 
39  3. 

content :  33  133. 

convertites :  145  178. 

cope :  38  67. 

copulatives :  139  54. 

cote :  48  78. 

countenance :  4  16. 

counter :  56  63. 

courtship:  83  325. 

cousin:   19  137. 

cousin  Ganymede:  122 
159. 

cover:  50  29. 

cross  :  44  n. 

cry  the  man  mercy: 
100  01. 

curtle-axe:  32  iKi. 

damask:   102  i','2. 

damnable:   129  :>?. 

dead  shepherd  :  lOi  80. 

dearly  :  28  31. 

defied:  147  17. 

desert:  47  67. 

desire  you  of  the  like : 
139  .5:t. 

despite  of  my  inven- 
tion :   51  45. 

Destinies  decrees :  1693. 

device :  11  Ml). 

dial :  54  20. 


Diana  in  the  fountain  : 

110  139. 
die  for  :  52  1. 
dies  and  lives  :  97  7. 
disable:    106  31,  140 

72. 
discord  in  the  spheres : 

53  6. 
dishonest :  133  4. 
disputable :  50  33. 
diverted  blood:  42  37. 
double     comparatives : 

68  58. 
double   negatives:   12 

14. 

doubling  of  preposi- 
tion:  58  90,  60  138. 

dry  as  the  remainder 
biscuit:  55  39. 

dry  brain:  55  39. 

ducdame :  51  52. 

dulcet  diseases :  1 39  62. 

ellipsis  of  nominative: 
3  2,  47  70. 

embossed:  57  67. 

entreated:  19  133. 

envenoms :  41  15. 

envious :  23  221. 

erring:  72  122. 

estate:  127  11. 

exceeded  all  promise: 
23  224. 

expediently :  65  18. 

extent :  65  17. 

extermin'd:   101  88. 

extremity :  104  5. 

eyne:  117  50. 

faints  for  succour:  47 
70. 

fair :  70  87. 

falcon:  92  71. 

fall :  27  24. 

falls  not  the  axe  :  96  5. 

false  gallop  :  71  105. 

fancy:  98  29,  119  101. 

fancy-monger  :  84  341. 


fashion  bequeath 'd:  32. 
favour:  13  35,  118  86, 

137  27. 
feature:  87  3. 
feeder:  48  94. 
fells:  68  51. 
first-born  of  Egypt: 

52  59. 
flouting:   124  12. 
flux:   38  52. 
fond :  40  7. 
food:  119  101. 
fool :   14  49. 
for  :  72  118. 
forest  of  Arden  :  9  105. 
forked  heads  :  36  24. 
fortune:  54  19. 
foul :  90  33. 
found:  109  95. 
friends  may  meet :  75 

174. 
from   the    smoke    into 

the  smother  :  26  267. 
function  :  5  7  79. 
gamester:  11  146. 
Ganymede :  32  121. 
Gargantua :  77  212. 
gentility:  4  18. 
gentle :  11  148. 
gentle    condition   of 

blood :  5  40. 
goats  — Goths:  88  5. 
God  be  wi'  you  :  79  244, 

105  28,  135  39. 
God'ild:  92  66,139.53. 
God  ye  good  ev'n  :  124 

14. 
goes  before  the  priest  .• 

110  120. 
golden  world:  9  109. 
goldsmiths'  wives  :  80 

258. 

good  Monsieur  Charles: 

8  88. 
good   my  complexion: 
76  184. 


INDEX 


151 


grace  himself  on  thee  : 
10  133. 

gracious:  21  168. 

graff :  71  109. 

gravell'd :  107  67. 

great  reckoning  in  a 
little  room  :  89  12. 

Grecian  club:  108  88. 

hard-favour'd :  89  25. 

hated  dearly  :  28  31. 

have  with  you :  24 
236. 

having:  84  352. 

headed:  57  67 

heart :   78  233. 

hendiadys:   35  8. 

here  much  Orlando:  1152. 

hey  nonino  :  134  16. 

him :  46  44. 

hinds :  4  17. 

his  (its):  61  162. 

his  blood  :  122  155. 

hold:  124  12. 

holla:   78  231. 

holy  traitors :  41  13. 

honest:  13  34,  89  22. 

horn:  91  54. 

horn-beasts :  91  43. 

humorous:  25  246,  41 
8,  105  18. 

hurtling:  121  131. 

husband's  occasion: 
111  154. 

hyen:  111  140. 

Hymen:   141  102. 

hysteron  proteron:  97  7. 

I  am  remember'd  :  103 
130. 

ice  of  chastity:  94  17. 

if  truth  holds  true  con- 
tents:  142  124. 

ill-favouredly :  13  35. 

ill-inhabited:   88  7. 

impressure:  98  23. 

in  despite  of  my  inven- 
tion :  51  45. 


in    his    own    conduct : 

144  151. 
in  lieu  of :  43  65. 
in  little:  72  132. 
in  parcels:  103  124. 
incision  :  69  68. 
incontinent :  128  36. 
infinitive  used  gerun- 

dively:  8  100,  21  165, 

100  62,  131  95. 
inland:  58  96,  83  325. 
invectively :  38  58. 
Irish  rat:  75  I68. 
Irish  wolves  :  132  102. 
it  (u.sed  indefinitely)  : 

32  118. 
ivy  bush:  146  3. 
jars:  53  5. 
Jove  in  a  thatch'd 

house :  88  8. 
Jove's  tree  :  78  223. 
Judas's  hair :  94  8. 
Juno's  swans:  30  71. 
Jupiter :  73  147. 
kill  them  up:   38  62. 
kind:  117  59. 
kindle:   11  153. 
kindl'd :   83  320. 
kindly:  43  53. 
lay  on  with  a  trowel : 

16  94. 
Leander's  cramp:  108 

88. 
learn:   12  5. 
leer:   107  61. 
lik'd:  147  17. 
lin'd :  70  84. 
liver:  86  391. 
living :  86  388. 
look  you  :  50  31. 
looks  successfully :  1.9 

136. 
lover :  95  39. 
lunatics :  85  373. 
make:  5  26,  40  4,  77 

209,  111  146. 


make  incision :  69  68. 
manage :  4  11. 
Marlowe :  101  80. 
marry :  5  29. 
material :  90  27. 
matter:  135  34. 
measure :  138  43. 
medlar:  71  110. 
memory :  40  3. 
merely  :  86  390.   • 
merry  :  44  1. 
mines:  4  18. 
mingled  damask :  102 

122. 
mispris'd:  11  152,  20 

162. 
misus'd:  112  177. 
mock:   13  27. 
modern:  104  6. 
modern  instances  :  61 

1,55. 
moe :  79  248. 
moonish:   85  380. 
moral :  54  29. 
more  sounder:  68  58. 
mortal  in  folly  :  46  52. 
motley :  54  13. 
music  of  the  spheres : 

53  6. 
myself  alone  :  79  241. 
names  :  50  20. 
napkin  :   119  93. 
native:  82  318. 
natural:  14  48,  67  30. 
nature's  sale-work :  99 

43. 
naught  awhile:  5  31. 
nearer  to  his  reverence : 

6  46. 
needless:  37  46. 
new  tangled  :  110  137. 
nice:  104  14. 
nine  days  :  75  165. 
noble  device  :  11  149. 
noble  goose  :  95  41. 
nor  none:  12  14. 


152        THE   NEW  HUDSON   SHAKESPEARE 


nurture :  68  97. 

0,  sweet  Oliver  :  93  86. 

oath  of  a  lover:  95  28. 

observance :  1 3 1  90. 

odds :  19  141. 

•od's  my  little  life  :  99 
43. 

old:    15  73. 

old  gentleman's  say- 
ing: 124  4. 

omittance  is  no  quit- 
tance: 103  132. 

on:  3  3. 

ones :  118  75. 

out  of  all  hooping  :  76 
182. 

out  of  suits :  24  226. 

Ovid:   88  6. 

owe  me  nothing :  5  0  20. 

painted  cloth :  80  260. 

pantaloon :  61  157. 

parcel:  103  124. 

pard :  61  149. 

parlous:  67  41. 

passing :  103  137. 

passion  of  earnest : 
123  169. 

pathetical :  112  168. 

payment:  11  142. 

peascod :  46  48. 

penalty  of  Adam :  34  5. 

perpend :  68  64. 

persever :  -127  4. 

Philemon  :   88  8. 

physic  your  rankness : 

7   78. 

place :  42  27. 
point-device :  85  357. 
poke :  54  20. 
policy:   126  .".1. 
pompous  :  145  17(;. 
poor  a  thousand  :   3  2. 
pretty,  sure:  97  1 1. 
prevents:   107  56. 
priser :  41  h. 
prodigal :  5  34. 


Prodigal  Son  :  5  34. 

proper:  17  106,  99  51. 

proud  and  pitiless :  99 
40. 

puisny :  95  40. 

purchase :  83  322. 

purgation :  29  49. 

purlieus :  118  76. 

put  me  to  my  purga- 
tion: 138  42. 

put  on  a  religious  life  : 
145  175. 

Pythagoras :  75  167. 

quail :  40  20. 

qualities :  7  63. 

question  :  95  33. 

questioning:  143  132. 

quintain:  24  231. 

quintessence :  72  131. 

quit :  64  11. 

quittance :  103  132. 

quotidian :  84  342. 

rank  to  market :  70  90. 

rankness :  7  78. 

rascal:  91  50. 

raw  :  69  68. 

recks :  48  76. 

recountments :  121 140. 

remorse :  30  66. 

remov'd :  83  322. 

render:  120  122. 

resolve  :  78  219. 

rest  you  merry :  12657. 

ring  time:   134  18. 

ripe  sister  :  118  87. 

Robin  Hood  :  9  107. 

roynish  :  39  8. 

sad  brow  :  77  201. 

said:  53  12. 

sale-work :  99  43. 

salutation  and  greet- 
ing:   137  38. 

sans :   55  32. 

savage :  52  6. 

saws  :  61  1.55. 

school :  3  5. 


seasons'  difference:  34  6. 
see:  18  125. 
seek  with  candle:  64  6. 
seeming :  139  66. 
se'nnight :  82  299. 
senseless  of  the  bob : 

56  55. 
sentence  end:  72  128. 
sententious:   139  60. 
seven  ages  :  60  142. 
seventh  cause  :  138  49. 
shadow :  113  192. 
shall:  10  116,  124  12. 
she  (woman)  :  66  10. 
should:  58  90. 
should  be  :  74  164. 
shouldst :  22  207. 
shrewd:  145  167. 
simple  feature:  87  3. 
simples :  104  15. 
3ir :  90  36. 
slander    of    his   wife . 

107  56. 
smokeinto  the  smother : 

26  267. 
solemn:  45  18. 
south-sea:  76  186. 
sphere-music:  53  6. 
sport :  16  90. 
squandering    glances  : 

56  57. 
stalking-horse:  141  lOO. 
stand  with  :  48  86. 
stanzo:  49  17. 
states:  145  169. 
stay:  77  197. 
sticks    me    at    heart : 

23  222. 
still :  22  206. 
straight:  103  135. 
strange  suits  :  106  .^1. 
successfully:  19  136. 
suit:  55  14. 
suits :  24  226. 
swam    in    a    gondola: 

106  34. 


INDEX 


153 


swashing:  32  116. 

sweat :  43  5tj. 

sweet  and  bitter :  119 

101. 
sweet  my  coz  :  12  1. 
swift:   139  GO. 
swoon :  97  17. 
ta'en  up  :   138  47. 
take    upon   command : 

60  124. 
taller :  26  252. 
tax  :  57  71,  83  329. 
taxation:  15  75. 
tears:  37  43. 
tender  dearly  :  130  64. 
the  only:   133  11. 
thou  and  I  am  :  31  93. 
thrasonical :  128  29. 
thrice-crowned     queen 

of  night :  65  2. 
Time  the  old  justice : 

112  175. 
to  be  a  scoffer :  100  62. 


toad:  35  13. 
touch'd:  83  328. 
traverse :  95  39. 
trot:  82  297. 
trowel:   16  94. 
umber:  31  io«. 
uncouth :  52  6. 
underhand :  10  125. 
unexpressive :  66  10. 
unkind :  62  174. 
unquestionable  spirit : 

84  3.50. 
unto:   23  218. 
untuneable :  135  34. 
up:  38  62. 
vein  :  58  94. 
velvet  friends  :   37  50. 
Venice:  106  34. 
villain:  6  50. 
voice:  48  82. 
warp:  63  I86. 
waste  :  48  90. 
wearing :  45  35. 


weary  •  57  73. 

what:  38  01. 

what  had  he  to  do  :  103 

128. 
what  make  you  :  5  26. 
wherein:  21  165. 
wherein  went  he :  77 

208. 
which  :  35  8. 
why  do  you  speak  too  ? 

131  98. 
wind :  93  90. 
wise  men  :   15  78. 
wit,  whither  wilt :  1 1 1 

151. 
withal:  10  120,  81  294. 
woman  of  the  world : 

133  4. 
women  on  the  stage : 

147  15. 
you,  your :  47  64. 
your:  139  59. 
your  eyes:  20  157. 


<y-o  / 


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